Digital audio workstations (DAWs) occupy a prominent space in the creative arts. Songwriters, composers, producers, and audio engineers use a combination of software and virtual instruments to record and make music. Educators increasingly find DAWs useful for teaching concepts in signal flow, acoustics and sound synthesis, and to model analogue processes. As the creative industries shift to primarily software-based platforms, the identities, roles, and responsibilities of the participants intersect and blur. Similarly, networked technologies change the space and place of creative activity. Now, the ‘studio’ exists virtually anywhere. For educators working with students, these changing paradigms present a series of challenges. This article explores the DAW’s possibilities across three areas: space and place, theory and identity, and pedagogy. The article advocates for a less technocratic model of teaching and learning with DAWs in favour of an approach that cultivates a balance of aesthetic awareness and creativity.
{"title":"Blurred lines: Practical and theoretical implications of a DAW-based pedagogy","authors":"Daniel A. Walzer","doi":"10.1386/jmte_00017_1","DOIUrl":"https://doi.org/10.1386/jmte_00017_1","url":null,"abstract":"Digital audio workstations (DAWs) occupy a prominent space in the creative arts. Songwriters, composers, producers, and audio engineers use a combination of software and virtual instruments to record and make music. Educators increasingly find DAWs useful for teaching concepts in signal flow, acoustics and sound synthesis, and to model analogue processes. As the creative industries shift to primarily software-based platforms, the identities, roles, and responsibilities of the participants intersect and blur. Similarly, networked technologies change the space and place of creative activity. Now, the ‘studio’ exists virtually anywhere. For educators working with students, these changing paradigms present a series of challenges. This article explores the DAW’s possibilities across three areas: space and place, theory and identity, and pedagogy. The article advocates for a less technocratic model of teaching and learning with DAWs in favour of an approach that cultivates a balance of aesthetic awareness and creativity.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46092932","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}
Eldad Tsabary, Danielle Savage, David Ogborn, C. Beckett, A. Szigetvári, J. Beverley, Luis N. Del Angel, Jasmine Leblond-Chartrand, Spencer Park
Inner Ear is a browser-based aural training software designed to improve and better understand the process and means through which students acquire sound-focused aural skills. Its ongoing development follows educational principles established through years of research with undergraduate music students who major in electroacoustic studies, beginning in 2005. It provides users with ongoing detailed feedback about their performance, areas that need additional work, and an accessible notepad for students to record their insights during practice. It collects data on users’ performance and settings that can later be analysed and shared with their instructor. The design of Inner Ear follows insights that emerged in students’ feedback, provided mostly in home practice reports. Primary among these insights are the needs for individualizable practice environments, diversified exercises, speedy and informative feedback and progress evaluation methods.
{"title":"Inner Ear: A tool for individualizing sound-focused aural skill acquisition","authors":"Eldad Tsabary, Danielle Savage, David Ogborn, C. Beckett, A. Szigetvári, J. Beverley, Luis N. Del Angel, Jasmine Leblond-Chartrand, Spencer Park","doi":"10.1386/jmte_00010_1","DOIUrl":"https://doi.org/10.1386/jmte_00010_1","url":null,"abstract":"Inner Ear is a browser-based aural training software designed to improve and better understand the process and means through which students acquire sound-focused aural skills. Its ongoing development follows educational principles established through years of research with undergraduate\u0000 music students who major in electroacoustic studies, beginning in 2005. It provides users with ongoing detailed feedback about their performance, areas that need additional work, and an accessible notepad for students to record their insights during practice. It collects data on users’\u0000 performance and settings that can later be analysed and shared with their instructor. The design of Inner Ear follows insights that emerged in students’ feedback, provided mostly in home practice reports. Primary among these insights are the needs for individualizable practice\u0000 environments, diversified exercises, speedy and informative feedback and progress evaluation methods.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47109190","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 project outlines a design for, and presents an evaluation and validation of, an information and communication technology (ICT) training course on an initial teacher education programme for pre-service music teachers at a Spanish University. The primary objective was to improve initial teacher education in music technology through a course design with two key components: (1) constructivist learning through collaborative projects (PBL) and (2) the technological pedagogical content knowledge (TPACK) integration framework. The course saw students carry out four real-life projects, three of which involved the elaboration of educational material through the exclusive use of musical technology, and one of which involved an ICT research project. Results were obtained through an end-product evaluation and a self-assessment questionnaire and indicated that the course was well received and highly valued by the participants. In their self-assessment responses, students spoke of the academic value of the course, a confidence in their own skills, their willingness to use ICTs in future teaching contexts, the importance of ICTs in their degree programme, the fact that the course surpassed their expectations in terms of achievement (a fact corroborated through data triangulation in the end-product evaluation) and the transferability of the knowledge acquired to the music classroom. Finally, they provided suggestions for potential improvements to the course.
{"title":"Design and validation of a music technology course for initial music teacher education based on the TPACK framework and the project-based learning approach","authors":"Jesús Tejada, Tomás Thayer Morel","doi":"10.1386/jmte_00008_1","DOIUrl":"https://doi.org/10.1386/jmte_00008_1","url":null,"abstract":"This project outlines a design for, and presents an evaluation and validation of, an information and communication technology (ICT) training course on an initial teacher education programme for pre-service music teachers at a Spanish University. The primary objective was to improve\u0000 initial teacher education in music technology through a course design with two key components: (1) constructivist learning through collaborative projects (PBL) and (2) the technological pedagogical content knowledge (TPACK) integration framework. The course saw students carry out four real-life\u0000 projects, three of which involved the elaboration of educational material through the exclusive use of musical technology, and one of which involved an ICT research project. Results were obtained through an end-product evaluation and a self-assessment questionnaire and indicated that the course\u0000 was well received and highly valued by the participants. In their self-assessment responses, students spoke of the academic value of the course, a confidence in their own skills, their willingness to use ICTs in future teaching contexts, the importance of ICTs in their degree programme, the\u0000 fact that the course surpassed their expectations in terms of achievement (a fact corroborated through data triangulation in the end-product evaluation) and the transferability of the knowledge acquired to the music classroom. Finally, they provided suggestions for potential improvements to\u0000 the course.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46818302","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}
{"title":"Editorial","authors":"A. King","doi":"10.1386/jmte_00007_2","DOIUrl":"https://doi.org/10.1386/jmte_00007_2","url":null,"abstract":"","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47588635","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}
Streaming media seems to have become a natural part in teachers’ professional life. Streamed music, primarily distributed by the company Spotify, sounds in most music and dance classrooms, not least in Swedish schools. Hence, the concepts of digitalization and listening are accentuated within the area of music education. Within the frames of a larger border-crossing research project financed by Wallenbergstiftelsen ‐ ‘Evolving bildung in the nexus of streaming services, art and users: Spotify as a case’, which aims to explore the meaning and function of streaming media as a facilitator of bildung, using Spotify as a case ‐ this presentation takes two interviews regarding Spotify use as a starting point. One music teacher and one dance teacher, among sixteen participants, were interviewed about their use of Spotify. The aim with the specific analysis was to describe the phenomenon of bildung regionalized to relational school settings, where streamed music, teachers and students come together in intended learning situations. The interviews were stimulated by the teachers’ own Spotify interfaces, and documented by the virtual communication tool Zoom. They were transcribed and analysed in a phenomenological narrative manner. The narrative is shaped as a dialogue between the two teachers, to make similarities and differences regarding relations with Spotify in the classroom setting visible. The result shows aspects of existential and essential bildung through listening taking place as being, thinking and acting with Spotify in the spirit of Heidegger.
{"title":"Thinking, being, teaching and learning with Spotify: Aspects of existential and essential musical bildung through listening in the classroom","authors":"Cecilia Ferm Almqvist","doi":"10.1386/jmte_00011_1","DOIUrl":"https://doi.org/10.1386/jmte_00011_1","url":null,"abstract":"Streaming media seems to have become a natural part in teachers’ professional life. Streamed music, primarily distributed by the company Spotify, sounds in most music and dance classrooms, not least in Swedish schools. Hence, the concepts of digitalization and listening are accentuated\u0000 within the area of music education. Within the frames of a larger border-crossing research project financed by Wallenbergstiftelsen ‐ ‘Evolving bildung in the nexus of streaming services, art and users: Spotify as a case’, which aims to explore the meaning and function of\u0000 streaming media as a facilitator of bildung, using Spotify as a case ‐ this presentation takes two interviews regarding Spotify use as a starting point. One music teacher and one dance teacher, among sixteen participants, were interviewed about their use of Spotify. The aim with\u0000 the specific analysis was to describe the phenomenon of bildung regionalized to relational school settings, where streamed music, teachers and students come together in intended learning situations. The interviews were stimulated by the teachers’ own Spotify interfaces, and documented\u0000 by the virtual communication tool Zoom. They were transcribed and analysed in a phenomenological narrative manner. The narrative is shaped as a dialogue between the two teachers, to make similarities and differences regarding relations with Spotify in the classroom setting visible. The result\u0000 shows aspects of existential and essential bildung through listening taking place as being, thinking and acting with Spotify in the spirit of Heidegger.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47593080","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 increased presence of technology into music education classrooms has coincided to some extent with the increased presence of popular music into school music spaces, especially in the United States. This study examined the integration of music technologies into K-12 (ages 5‐18) popular music programmes in New York City (NYC). One hundred sixty-eight music teachers responded to a survey, all of whom had previously participated in a modern band workshop as part of the Amp Up NYC initiative. Results of the study found that many of the challenges of incorporating music technology into modern bands, including lack of access to technology or faulty hardware, are not unique to popular music ensembles. Some of the successes mentioned by the teachers, including songwriting, beat-making and increased student agency, provide a glimpse into the benefits that integrating music technology into modern band classrooms can offer.
在某种程度上，科技越来越多地出现在音乐教育课堂上，同时流行音乐也越来越多地出现在学校音乐空间中，尤其是在美国。本研究调查了纽约市K-12(5 - 18岁)流行音乐节目中音乐技术的整合情况。168名音乐教师参与了一项调查，他们之前都参加过现代乐队研讨会，这是Amp Up NYC倡议的一部分。研究结果发现，将音乐技术融入现代乐队的许多挑战，包括缺乏技术或硬件故障，并不是流行音乐合奏所独有的。老师们提到的一些成功，包括歌曲创作、节拍制作和学生参与的增加，让我们看到了将音乐技术融入现代乐队课堂所能带来的好处。
{"title":"The integration of music technology into popular music ensembles: Perspectives of modern band teachers","authors":"Bryan Powell","doi":"10.1386/jmte_00012_1","DOIUrl":"https://doi.org/10.1386/jmte_00012_1","url":null,"abstract":"The increased presence of technology into music education classrooms has coincided to some extent with the increased presence of popular music into school music spaces, especially in the United States. This study examined the integration of music technologies into K-12 (ages 5‐18)\u0000 popular music programmes in New York City (NYC). One hundred sixty-eight music teachers responded to a survey, all of whom had previously participated in a modern band workshop as part of the Amp Up NYC initiative. Results of the study found that many of the challenges of incorporating music\u0000 technology into modern bands, including lack of access to technology or faulty hardware, are not unique to popular music ensembles. Some of the successes mentioned by the teachers, including songwriting, beat-making and increased student agency, provide a glimpse into the benefits that integrating\u0000 music technology into modern band classrooms can offer.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41396960","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 describes an action research project that aimed to widen participation for music education in schools in England (United Kingdom). The Connect Resound project involved a pilot stage in North Yorkshire (England, United Kingdom) followed by a roll-out to four further geographical regions of England: Cumbria; Durham/Darlington; East Riding of Yorkshire; and Cornwall. The project involved testing a technological framework created to bring music education to schools with little or no music instrumental lessons within primary schools at key stage 2 (pupils aged 7–11 years). The pilot and roll-out phases refined the approach and established a business case for a grant to roll out the project nationally in 2017. The approach used in the study provided not only the instrumental lessons but also continuing professional development for teachers, on-demand technical support, and access to music performances and masterclasses. The research team designed and tested several scenarios for using technology in this environment some of which were using single cameras and others that used a multi-camera set-up. One of the approaches used technology to allow the teachers and pupils access to different camera angles and high-quality audio to deliver the lessons which proved beneficial. The project team captured both video data as well as interviews and questionnaires with participants in order to better understand and refine the approach developed. This article reports upon the challenges and opportunities provided by the project in terms of the technology and environment, an evaluation using a case study approach of how the teachers used the technology, and feedback in the form of questionnaires from pupils and parents/carers concerning the lessons. Issues around the technology concerned time lag, initial technical problems, and background noise in the teaching environment amplified by the technology. The different camera angles adopted in the project proved valuable for teachers, potential issues with assembling and tuning instruments were considered, and beginner technique could be demonstrated using this approach.
{"title":"Connect Resound: Using online technology to deliver music education to remote communities","authors":"A. King, Helen Prior, Caroline Waddington-Jones","doi":"10.1386/jmte_00006_1","DOIUrl":"https://doi.org/10.1386/jmte_00006_1","url":null,"abstract":"This article describes an action research project that aimed to widen participation for music education in schools in England (United Kingdom). The Connect Resound project involved a pilot stage in North Yorkshire (England, United Kingdom) followed by a roll-out to four further geographical regions of England: Cumbria; Durham/Darlington; East Riding of Yorkshire; and Cornwall. The project involved testing a technological framework created to bring music education to schools with little or no music instrumental lessons within primary schools at key stage 2 (pupils aged 7–11 years). The pilot and roll-out phases refined the approach and established a business case for a grant to roll out the project nationally in 2017. The approach used in the study provided not only the instrumental lessons but also continuing professional development for teachers, on-demand technical support, and access to music performances and masterclasses. The research team designed and tested several scenarios for using technology in this environment some of which were using single cameras and others that used a multi-camera set-up. One of the approaches used technology to allow the teachers and pupils access to different camera angles and high-quality audio to deliver the lessons which proved beneficial. The project team captured both video data as well as interviews and questionnaires with participants in order to better understand and refine the approach developed. This article reports upon the challenges and opportunities provided by the project in terms of the technology and environment, an evaluation using a case study approach of how the teachers used the technology, and feedback in the form of questionnaires from pupils and parents/carers concerning the lessons. Issues around the technology concerned time lag, initial technical problems, and background noise in the teaching environment amplified by the technology. The different camera angles adopted in the project proved valuable for teachers, potential issues with assembling and tuning instruments were considered, and beginner technique could be demonstrated using this approach.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77675020","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 aim of the study was to explore the use of a unique musical instrument called Skoog in a special needs education setting with a child with autism. A case-study approach was adopted. Emphasis was placed on the potential of Skoog, which increases the participant’s initiation to make eye-contact and to initiate a conversation or other forms of communication. The participant was a 4-year-old boy with autism. The participant received 21 sessions of therapy, with outcomes from the sessions utilizing Skoog being compared to the outcomes from sessions not utilizing Skoog. The sessions were filmed, and pre- and post-intervention evaluations were carried out. The results did not yield any statistically significant difference between Skoog and non-Skoog sessions. A greater amount of verbal communication was recorded during the non-Skoog sessions. This might be because the participant used music, instead of language, to communicate when using Skoog. These results contradict findings from previous studies. A large-scale study with a greater number of participants is needed to further evaluate the use of Skoog in special needs education setting.
{"title":"A casestudy on the use of an innovative, technical, musical instrument, Skoog, in a special needs education setting with a child with autism and its effects on social skills","authors":"Tiija Rinta","doi":"10.1386/jmte_00005_1","DOIUrl":"https://doi.org/10.1386/jmte_00005_1","url":null,"abstract":"The aim of the study was to explore the use of a unique musical instrument called Skoog in a special needs education setting with a child with autism. A case-study approach was adopted. Emphasis was placed on the potential of Skoog, which increases the participant’s initiation to make eye-contact and to initiate a conversation or other forms of communication. The participant was a 4-year-old boy with autism. The participant received 21 sessions of therapy, with outcomes from the sessions utilizing Skoog being compared to the outcomes from sessions not utilizing Skoog. The sessions were filmed, and pre- and post-intervention evaluations were carried out. The results did not yield any statistically significant difference between Skoog and non-Skoog sessions. A greater amount of verbal communication was recorded during the non-Skoog sessions. This might be because the participant used music, instead of language, to communicate when using Skoog. These results contradict findings from previous studies. A large-scale study with a greater number of participants is needed to further evaluate the use of Skoog in special needs education setting.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84273190","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}
Due to advancements, affordability and increased accessibility of technology, composing using computer technology has become prevalent in English secondary music classrooms. Despite this, there is still little research investigating the use of technology in music classrooms, resulting in teaching and learning approaches going unchallenged. This article explores how and why computer technology is being used for composing in upper secondary school music classrooms in England. Data were collected through a mixed-methodology approach involving five case-study schools and a survey of 112 classroom music teachers in England. Findings outline both positive and negative aspects of using computer technology to compose, such as how it was often perceived as a shortcut; however it can be argued that the computer software encourages a linear approach to composing, and the unrealistic Musical Instrument Digital Interface (MIDI) sounds can be a demoralising factor for students’ creativity.
{"title":"‘Waiting for the wow factor’: Perspectives on computer technology in classroom composing","authors":"Kirsty Devaney","doi":"10.1386/jmte_00002_1","DOIUrl":"https://doi.org/10.1386/jmte_00002_1","url":null,"abstract":"Due to advancements, affordability and increased accessibility of technology, composing using computer technology has become prevalent in English secondary music classrooms. Despite this, there is still little research investigating the use of technology in music classrooms, resulting in teaching and learning approaches going unchallenged. This article explores how and why computer technology is being used for composing in upper secondary school music classrooms in England. Data were collected through a mixed-methodology approach involving five case-study schools and a survey of 112 classroom music teachers in England. Findings outline both positive and negative aspects of using computer technology to compose, such as how it was often perceived as a shortcut; however it can be argued that the computer software encourages a linear approach to composing, and the unrealistic Musical Instrument Digital Interface (MIDI) sounds can be a demoralising factor for students’ creativity.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76321330","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}
To provide insight into structural, technological and environmental factors that contribute to powerful learning experiences in composition tasks, this instrumental case study offers an examination of the interactions of various elements evident in a music composition class. Data were collected via classroom observations, participant interviews and miscellaneous documents. The synergistic relationship between instructional design components and classroom supports, mediated through the use of technology, served to transform the human–computer interface from problem-solving to possibility-driven action. Instructional design elements that contributed to student engagement were choice in assignment completion, a self-paced work environment and musical preference. Instructional supports facilitated a core student learning process that expanded foundational knowledge and skill through active engagement in exploration, identification of musical elements and decision-making; and through interaction with an expert instructor, reflection through peer engagement, technology affordances and autonomy.
{"title":"Synergy in the composition classroom: Powerful learning through technology and instructional design","authors":"L. Heil","doi":"10.1386/jmte_00004_1","DOIUrl":"https://doi.org/10.1386/jmte_00004_1","url":null,"abstract":"To provide insight into structural, technological and environmental factors that contribute to powerful learning experiences in composition tasks, this instrumental case study offers an examination of the interactions of various elements evident in a music composition class. Data were collected via classroom observations, participant interviews and miscellaneous documents. The synergistic relationship between instructional design components and classroom supports, mediated through the use of technology, served to transform the human–computer interface from problem-solving to possibility-driven action. Instructional design elements that contributed to student engagement were choice in assignment completion, a self-paced work environment and musical preference. Instructional supports facilitated a core student learning process that expanded foundational knowledge and skill through active engagement in exploration, identification of musical elements and decision-making; and through interaction with an expert instructor, reflection through peer engagement, technology affordances and autonomy.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88813904","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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