This article presents a case study exploring the interrelationship between talk and learning in collaborative computer-based music production. Framed by Neil Mercer and Karen Littleton’s Sociocultural perspective on collaborative learning, research on talk and ‘thinking together’ for learning, this study observed two undergraduate composers as they co-produced a contemporary dance film soundtrack across one academic term. The composers recorded their collaboration, providing data for a systematic moment-by-moment micro-analysis focusing on the audio-visual aspects of this project over twelve weeks. Sociocultural discourse analysis methods were used to explore how social, cultural and concrete situations shaped the students’ developing common knowledge. Interaction analysis has been used to code turn functions and display talk characteristics and patterns. This research found that collaborative computer music production is a ‘cumulative conversation’, comprised of many ‘thinking spaces’ that foster ‘post-dialogic’ activity’ and ‘connection building’. In this case the students developed new ‘tools for progressive discourse’ providing them access to the remote and private ‘thinking spaces’ that are characteristic of longer-term co-creating. This research argues for the development of new pedagogies that focus on understanding how talk shapes collaborative learning within music technology.
{"title":"Talk for collaborative learning in computer-based music production","authors":"E. Dobson","doi":"10.1386/JMTE_00003_1","DOIUrl":"https://doi.org/10.1386/JMTE_00003_1","url":null,"abstract":"This article presents a case study exploring the interrelationship between talk and learning in collaborative computer-based music production. Framed by Neil Mercer and Karen Littleton’s Sociocultural perspective on collaborative learning, research on talk and ‘thinking together’ for learning, this study observed two undergraduate composers as they co-produced a contemporary dance film soundtrack across one academic term. The composers recorded their collaboration, providing data for a systematic moment-by-moment micro-analysis focusing on the audio-visual aspects of this project over twelve weeks. Sociocultural discourse analysis methods were used to explore how social, cultural and concrete situations shaped the students’ developing common knowledge. Interaction analysis has been used to code turn functions and display talk characteristics and patterns. This research found that collaborative computer music production is a ‘cumulative conversation’, comprised of many ‘thinking spaces’ that foster ‘post-dialogic’ activity’ and ‘connection building’. In this case the students developed new ‘tools for progressive discourse’ providing them access to the remote and private ‘thinking spaces’ that are characteristic of longer-term co-creating. This research argues for the development of new pedagogies that focus on understanding how talk shapes collaborative learning within music technology.","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":"81306238","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 study was designed to examine how distance piano teaching might affect the verbal behaviours and physical actions of a teacher, a student and a parent. Weekly 30-minute piano lessons over a year-long period were taught to a 5-and-a-half-year-old on-site student and a 6-year-old distance student. All lessons were delivered by the same teacher who followed the Suzuki programme. All sessions were recorded and then analysed using Simple Computer Recording Interface Behaviour Evaluation (SCRIBE), a video analysis software that provides frequencies and durations of pre-coded events. The observation of recorded lessons showed that distance teaching did not slow down student progress. In addition, behavioural analysis revealed that in most aspects, distance and on-site delivery were remarkably similar. The most striking difference was the interaction between the teacher and the parent. During on-site teaching, most of the teacher’s instructions were directed to the student while the parent was listening and observing attentively; during distance teaching, half of the teacher’s instructions were addressed to the student and the other half to the parent. The distance student also tended to relate more to the parent than to the teacher. In the distance environment, when interacting with a young beginner student, the role of the parent becomes very central to the success of the lessons.
{"title":"On-site and distance piano teaching: An analysis of verbal and physical behaviours in a teacher, student and parent","authors":"G. Comeau, Yuanyuan Lu, Mikael Swirp","doi":"10.1386/jmte.12.1.49_1","DOIUrl":"https://doi.org/10.1386/jmte.12.1.49_1","url":null,"abstract":"This study was designed to examine how distance piano teaching might affect the verbal behaviours and physical actions of a teacher, a student and a parent. Weekly 30-minute piano lessons over a year-long period were taught to a 5-and-a-half-year-old on-site student and a 6-year-old\u0000 distance student. All lessons were delivered by the same teacher who followed the Suzuki programme. All sessions were recorded and then analysed using Simple Computer Recording Interface Behaviour Evaluation (SCRIBE), a video analysis software that provides frequencies and durations of pre-coded\u0000 events. The observation of recorded lessons showed that distance teaching did not slow down student progress. In addition, behavioural analysis revealed that in most aspects, distance and on-site delivery were remarkably similar. The most striking difference was the interaction between the\u0000 teacher and the parent. During on-site teaching, most of the teacher’s instructions were directed to the student while the parent was listening and observing attentively; during distance teaching, half of the teacher’s instructions were addressed to the student and the other half\u0000 to the parent. The distance student also tended to relate more to the parent than to the teacher. In the distance environment, when interacting with a young beginner student, the role of the parent becomes very central to the success of the lessons.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48117147","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}
A. Peñalba, María-José Valles, Elena Partesotti, María-Ángeles Sevillano, R. Castañón
Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer allows for a statistically significant similar interaction in people of different ages and genders and with different disabilities. However, there are two exceptions that can be accounted for in connection with the causality-randomness of the two environments where the experimentation takes place.
{"title":"Accessibility and participation in the use of an inclusive musical instrument: The case of MotionComposer","authors":"A. Peñalba, María-José Valles, Elena Partesotti, María-Ángeles Sevillano, R. Castañón","doi":"10.1386/jmte.12.1.79_1","DOIUrl":"https://doi.org/10.1386/jmte.12.1.79_1","url":null,"abstract":"Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named\u0000 MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer\u0000 allows for a statistically significant similar interaction in people of different ages and genders and with different disabilities. However, there are two exceptions that can be accounted for in connection with the causality-randomness of the two environments where the experimentation takes\u0000 place.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48485169","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 Internet is now a central resource in the transmission of Irish traditional music (ITM), with over 80 per cent of Irish traditional musicians citing that they use online resources. The Online Academy of Irish Music (OAIM) is a website that offers online tuition, and employs innovative virtual pedagogies including Virtual Classrooms, Virtual Sessions, Jam Sessions and Virtual Reality Sessions. Through ethnographic means and focusing on the OAIM as a case study, this article highlights the connection between music and social learning in the ITM tradition. Informed by the work of ethnomusicologists Turino, Rice and Merriam, it documents how the virtual world is attempting to mimic social experiences for the learner of ITM. Documenting this process of mimicking reveals the challenges of holistic online learning, which could prove informative for all stakeholders in the pedagogic process as OAIM endeavours to address the shortcomings and inform the broader investigations into online music education.
{"title":"Technology and the transmission of tradition: An exploration of the virtual pedagogies in the Online Academy of Irish Music","authors":"F. Ward","doi":"10.1386/jmte.12.1.5_1","DOIUrl":"https://doi.org/10.1386/jmte.12.1.5_1","url":null,"abstract":"The Internet is now a central resource in the transmission of Irish traditional music (ITM), with over 80 per cent of Irish traditional musicians citing that they use online resources. The Online Academy of Irish Music (OAIM) is a website that offers online tuition, and employs innovative\u0000 virtual pedagogies including Virtual Classrooms, Virtual Sessions, Jam Sessions and Virtual Reality Sessions. Through ethnographic means and focusing on the OAIM as a case study, this article highlights the connection between music and social learning in the ITM tradition. Informed by the\u0000 work of ethnomusicologists Turino, Rice and Merriam, it documents how the virtual world is attempting to mimic social experiences for the learner of ITM. Documenting this process of mimicking reveals the challenges of holistic online learning, which could prove informative for all stakeholders\u0000 in the pedagogic process as OAIM endeavours to address the shortcomings and inform the broader investigations into online music education.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/jmte.12.1.5_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42689867","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}
Instrumental and vocal music students in regional and remote areas of Australia are often significantly disadvantaged in their development by the lack of local teachers who specialize in the instrument being learned. The current rollout of National Broadband Network (NBN) across Australia offers the potential for overcoming this geographical disadvantage by providing specialist online tuition through videoconferencing. This article reports on an investigation of technical and pedagogical issues associated with synchronous online instrumental tuition. The outcomes from laboratory- and field-based trials included identification of optimal hardware and software delivery systems and pedagogical considerations for optimizing online instrumental learning.
{"title":"Overcoming the ‘tyranny of distance’ in instrumental music tuition in Australia: The iMCM project","authors":"Robin S. Stevens, G. McPherson, G. Moore","doi":"10.1386/jmte.12.1.25_1","DOIUrl":"https://doi.org/10.1386/jmte.12.1.25_1","url":null,"abstract":"Instrumental and vocal music students in regional and remote areas of Australia are often significantly disadvantaged in their development by the lack of local teachers who specialize in the instrument being learned. The current rollout of National Broadband Network (NBN) across Australia\u0000 offers the potential for overcoming this geographical disadvantage by providing specialist online tuition through videoconferencing. This article reports on an investigation of technical and pedagogical issues associated with synchronous online instrumental tuition. The outcomes from laboratory-\u0000 and field-based trials included identification of optimal hardware and software delivery systems and pedagogical considerations for optimizing online instrumental learning.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45241755","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.12.1.3_2","DOIUrl":"https://doi.org/10.1386/jmte.12.1.3_2","url":null,"abstract":"","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/jmte.12.1.3_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42749314","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}
Multi-layer formats are becoming increasingly important in the field of music description. Thanks to their adoption, it is possible to embed into a unique digital document different representations of music contents, multiple in number and potentially heterogeneous in media type. Moreover, these descriptions can be mutually synchronized, thus providing different views of the same information entity with a customizable level of granularity. Standard use cases of multi-layer formats for music address information structuring and support to advanced fruition. The goal of the paper is to demonstrate how suitable multi-layer formats can foster analytical activities in the field of interpretative modelling and expressiveness investigation, discussing both the pedagogical roots and the educational implications of this approach. A use case focusing on the incipit of G. Mahler’s Symphony No. 5 will be presented.
{"title":"Investigating interpretative models in music through multi-layer representation formats","authors":"A. Baratè, G. Haus, L. A. Ludovico, G. Presti","doi":"10.1386/jmte.12.1.95_1","DOIUrl":"https://doi.org/10.1386/jmte.12.1.95_1","url":null,"abstract":"Multi-layer formats are becoming increasingly important in the field of music description. Thanks to their adoption, it is possible to embed into a unique digital document different representations of music contents, multiple in number and potentially heterogeneous in media type. Moreover,\u0000 these descriptions can be mutually synchronized, thus providing different views of the same information entity with a customizable level of granularity. Standard use cases of multi-layer formats for music address information structuring and support to advanced fruition. The goal of the paper\u0000 is to demonstrate how suitable multi-layer formats can foster analytical activities in the field of interpretative modelling and expressiveness investigation, discussing both the pedagogical roots and the educational implications of this approach. A use case focusing on the incipit of G. Mahler’s\u0000 Symphony No. 5 will be presented.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42767969","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 field of music production education is a challenging one, exploring multiple creative, technical and entrepreneurial disciplines, including music composition, performance electronics, acoustics, musicology, project management and psychology. As a result, students take multiple ‘learning journeys’ on their pathway towards becoming autonomous learners. This article uniquely evaluates the journey of climbing Bloom’s cognitive domain in the field of music production and gives specific examples that validate teaching music production in higher education through multiple, connected ascents of the framework. Owing to the practical nature of music production, Kolb’s Experiential Learning Model is also considered as a recurring function that is necessary for climbing Bloom’s domain, in order to ensure that learners are equipped for employability and entrepreneurship on graduation. The authors’ own experiences of higher education course delivery, design and development are also reflected upon with reference to music production pathways at both the University of Westminster (London, United Kingdom) and York St John University (York, United Kingdom).
{"title":"Connected learning journeys in music production education","authors":"R. Toulson, Russ Hepworth-Sawyer","doi":"10.1386/JMTE.11.3.269_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.3.269_1","url":null,"abstract":"The field of music production education is a challenging one, exploring multiple creative, technical and entrepreneurial disciplines, including music composition, performance electronics, acoustics, musicology, project management and psychology. As a result, students take multiple ‘learning journeys’ on their pathway towards becoming autonomous learners. This article uniquely evaluates the journey of climbing Bloom’s cognitive domain in the field of music production and gives specific examples that validate teaching music production in higher education through multiple, connected ascents of the framework. Owing to the practical nature of music production, Kolb’s Experiential Learning Model is also considered as a recurring function that is necessary for climbing Bloom’s domain, in order to ensure that learners are equipped for employability and entrepreneurship on graduation. The authors’ own experiences of higher education course delivery, design and development are also reflected upon with reference to music production pathways at both the University of Westminster (London, United Kingdom) and York St John University (York, United Kingdom).","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75195582","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}
Carola Boehm, Russ Hepworth-Sawyer, Nick Hughes, Dawid Ziemba
In 2007 Carola Boehm published the introductory article within the first volume of the Journal of Music, Technology and Education entitled ‘The discipline that never was: Current developments in Music Technology in higher education in Britain’. Boehm identified the higher education (HE) offerings in Music Technology at that time. In the ten or so years that have passed since those findings, we have witnessed both incredible growth in the HE sector and significant shift in the flavour of programmes on offer. This shift has been seen primarily in the growth of the creative practice-led title of ‘Music Production’, but not at the expense of traditional ‘Music Technology’. Boehm’s paper also explored the wider range of subject matters that could be considered within the then term ‘Music Technology’, whether by an ever-expanding technological backdrop, or through interdisciplinarity. In this article, we report on the significant changes since then, with some analysis for the future whilst considering the current political challenges for British HE.
{"title":"The discipline that ‘became’: Developments in Music Technology in British higher education between 2007 and 2018","authors":"Carola Boehm, Russ Hepworth-Sawyer, Nick Hughes, Dawid Ziemba","doi":"10.1386/JMTE.11.3.251_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.3.251_1","url":null,"abstract":"In 2007 Carola Boehm published the introductory article within the first volume of the Journal of Music, Technology and Education entitled ‘The discipline that never was: Current developments in Music Technology in higher education in Britain’. Boehm identified the higher education (HE) offerings in Music Technology at that time. In the ten or so years that have passed since those findings, we have witnessed both incredible growth in the HE sector and significant shift in the flavour of programmes on offer. This shift has been seen primarily in the growth of the creative practice-led title of ‘Music Production’, but not at the expense of traditional ‘Music Technology’. Boehm’s paper also explored the wider range of subject matters that could be considered within the then term ‘Music Technology’, whether by an ever-expanding technological backdrop, or through interdisciplinarity. In this article, we report on the significant changes since then, with some analysis for the future whilst considering the current political challenges for British HE.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75756495","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}
Music technology has been an active part of the Higher Education (HE) curricula for several decades but it is perhaps the last few decades that have witnessed the proliferation of courses at tertiary level, or at least certainly in the United Kingdom. The recently formed Office for Students (OfS) in the United Kingdom replaces HEFCE (Higher Education Funding Council for England) although the remit is somewhat different for this new entity. The OfS is very much a regulator working on behalf of the consumers (students) and not the universities; education is probably the last of the sectors in the United Kingdom to fall into line with this practice since utility and other companies which have had such regulation for years. This brings into sharp focus the view of education as a service industry and the position of education more generally in HE in the United Kingdom. This takes place in the suggested context of a falling number of students engaging with music at schools, sixth form, and further education colleges as a consequence of changes to government policy and the content of the curricula. This article begins by examining music in education and highlighting the current issues. It draws upon recent reports about music in schools before examining the value of music, and especially music technology, in the curriculum. Questions around employability are set out and some key findings from a phenomenological study are presented to educators. Finally, some signposts are set out for future work in this area.
{"title":"The (music) educator as producer","authors":"A. King","doi":"10.1386/JMTE.11.3.235_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.3.235_1","url":null,"abstract":"Music technology has been an active part of the Higher Education (HE) curricula for several decades but it is perhaps the last few decades that have witnessed the proliferation of courses at tertiary level, or at least certainly in the United Kingdom. The recently formed Office for Students (OfS) in the United Kingdom replaces HEFCE (Higher Education Funding Council for England) although the remit is somewhat different for this new entity. The OfS is very much a regulator working on behalf of the consumers (students) and not the universities; education is probably the last of the sectors in the United Kingdom to fall into line with this practice since utility and other companies which have had such regulation for years. This brings into sharp focus the view of education as a service industry and the position of education more generally in HE in the United Kingdom. This takes place in the suggested context of a falling number of students engaging with music at schools, sixth form, and further education colleges as a consequence of changes to government policy and the content of the curricula. This article begins by examining music in education and highlighting the current issues. It draws upon recent reports about music in schools before examining the value of music, and especially music technology, in the curriculum. Questions around employability are set out and some key findings from a phenomenological study are presented to educators. Finally, some signposts are set out for future work in this area.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78960695","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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