Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.
{"title":"Studio Trad: Facilitating traditional music experiences for music production students","authors":"Daithí Kearney, A. Commins","doi":"10.1386/JMTE.11.3.301_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.3.301_1","url":null,"abstract":"Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.","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":"84014480","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 role of live sound mixer is somewhat akin to piloting an aeroplane full of passengers: you are in control of the outcome for a number of people for a certain time, and must take in a lot of sensory information, process and act upon it using highly technical controls and equipment. Work-experience students at live events often work up to this role and have to undertake more menial tasks such as running cables, moving loudspeakers and other equipment, loading vans and trucks; even on a long-term placement. However, by taking the lead from pilot training where the learner takes the controls under supervision of a more experienced professional pilot, student sound engineers can assume control of a live mix with an audience present while benefitting from the guidance of a professional. This article discusses such an approach in the context of its place within or alongside the curriculum.
{"title":"Flying Solo: Elevating student sound engineers into responsible work-experience roles at live music events","authors":"D. Carugo","doi":"10.1386/JMTE.11.3.319_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.3.319_1","url":null,"abstract":"The role of live sound mixer is somewhat akin to piloting an aeroplane full of passengers: you are in control of the outcome for a number of people for a certain time, and must take in a lot of sensory information, process and act upon it using highly technical controls and equipment. Work-experience students at live events often work up to this role and have to undertake more menial tasks such as running cables, moving loudspeakers and other equipment, loading vans and trucks; even on a long-term placement. However, by taking the lead from pilot training where the learner takes the controls under supervision of a more experienced professional pilot, student sound engineers can assume control of a live mix with an audience present while benefitting from the guidance of a professional. This article discusses such an approach in the context of its place within or alongside the curriculum.","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":"89201287","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 Production and Technology education has traditionally concentrated on audio engineering, studio recording techniques with the focus of preparing students for a career as a producer or engineer. While necessary to retain the fundamentals of audio and recording, music technology education could do a service to students by including topics from the maker community by encouraging technology innovation. While some topics such as synthesis, programming and electronics are taught in graduate programmes, these are still seen as ‘specialty’ topics and students in undergraduate programmes miss out on learning other technologies and career paths that could benefit them. I would argue that by not updating the topics in music technology education that this has contributed to the stale output of the music industry within changing times. By incorporating topics such as microcontrollers, interaction and programming, students could discover new ways to work with music and learn skills that will give them more career opportunities. This article will discuss the ideals of the maker and music hacking movement, current pedagogy in Music Production and Technology degree programmes in the United States and United Kingdom and European Union, and the advantages of merging invention and DIY education into the current music technology and music production pedagogy.
{"title":"Maker music: Incorporating the maker and hacker community into music technology education","authors":"A. Hughes","doi":"10.1386/JMTE.11.3.287_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.3.287_1","url":null,"abstract":"Music Production and Technology education has traditionally concentrated on audio engineering, studio recording techniques with the focus of preparing students for a career as a producer or engineer. While necessary to retain the fundamentals of audio and recording, music technology education could do a service to students by including topics from the maker community by encouraging technology innovation. While some topics such as synthesis, programming and electronics are taught in graduate programmes, these are still seen as ‘specialty’ topics and students in undergraduate programmes miss out on learning other technologies and career paths that could benefit them. I would argue that by not updating the topics in music technology education that this has contributed to the stale output of the music industry within changing times. By incorporating topics such as microcontrollers, interaction and programming, students could discover new ways to work with music and learn skills that will give them more career opportunities. This article will discuss the ideals of the maker and music hacking movement, current pedagogy in Music Production and Technology degree programmes in the United States and United Kingdom and European Union, and the advantages of merging invention and DIY education into the current music technology and music production pedagogy.","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":"86251893","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}
Motion-capturing technology has been traditionally used in the field of sports for the analysis of athletes’ body movements. The application of this multimodal tool to the field of musical pedagogy, however, has yet to be widely explored. Historically, music teachers have been using abstract language such asthick lines, for example, to describe melodic phrases. Thesethick linescan function as mental signposts or cues to help a performer navigate through a particular piece especially during performances. Concepts such asrubato– the stretching of time – for instance, are more challenging to describe in terms of concrete lines or shapes, however. Because the push and pull ofrubatois so subtle, it can sometimes be challenging to pinpointrubatoand maximize its effectiveness. Thus, in addition to listening to the coach’s verbal explanations, it can be helpful to see the teacher’s gestures displayed simultaneously alongside their students’ gestures during music lessons. TheLeapmotionsoftware provides visual feedback in real time and can be played back in slow motion. This device functions much like a mirror, as the performers’ gestures reflect onto the screen in real time. At the same time, their teacher’s gestures can also be juxtaposed onto the screen as a reference. Details of the speed and the precision of therubatotiming can be seen on the screen as well. More importantly,Leapmotioncan be a useful source of feedback in the practice room where the teacher is not present; students can record precise gestures during their lessons and revisit what they had learned when they are alone. In this sense, students would not feel lost in the practice room during the week, and they could also hone their music analysis skills through the examination of their body movements. This study aims to catalyse the learning process and to revolutionize the traditional methods of daily music practice.
{"title":"Introducing motion-capturing technology into the music practice room as a feedback tool for working towards the precision ofrubato","authors":"M. Cheng","doi":"10.1386/JMTE.11.2.149_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.2.149_1","url":null,"abstract":"Motion-capturing technology has been traditionally used in the field of sports for the analysis of athletes’ body movements. The application of this multimodal tool to the field of musical pedagogy, however, has yet to be widely explored. Historically, music teachers have been using abstract language such asthick lines, for example, to describe melodic phrases. Thesethick linescan function as mental signposts or cues to help a performer navigate through a particular piece especially during performances. Concepts such asrubato– the stretching of time – for instance, are more challenging to describe in terms of concrete lines or shapes, however. Because the push and pull ofrubatois so subtle, it can sometimes be challenging to pinpointrubatoand maximize its effectiveness. Thus, in addition to listening to the coach’s verbal explanations, it can be helpful to see the teacher’s gestures displayed simultaneously alongside their students’ gestures during music lessons. TheLeapmotionsoftware provides visual feedback in real time and can be played back in slow motion. This device functions much like a mirror, as the performers’ gestures reflect onto the screen in real time. At the same time, their teacher’s gestures can also be juxtaposed onto the screen as a reference. Details of the speed and the precision of therubatotiming can be seen on the screen as well. More importantly,Leapmotioncan be a useful source of feedback in the practice room where the teacher is not present; students can record precise gestures during their lessons and revisit what they had learned when they are alone. In this sense, students would not feel lost in the practice room during the week, and they could also hone their music analysis skills through the examination of their body movements. This study aims to catalyse the learning process and to revolutionize the traditional methods of daily music practice.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74586838","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 qualitative research investigated a music composition created specifically for performance on iPads. It examined perspectives of the composers, performers and audience member participants. Composers were undergraduate music education majors with concentrations in music composition, performers were undergraduate music education majors, and audience members included music majors, composers, music theory professors and conductors of traditional large ensembles. Data included the notated composition and written reflection statements by the composers, performers and audience members. Reflection questions guided the statements, and included: how does composing for iPad instruments differ from composing for more traditional instruments? How do you feel performing on an iPad differs from performing on more traditional instruments? What were the challenges that you encountered and how did you respond to them? And, what did you like best and least about this composition and/or performance? The data were analysed for emergent themes, and the themes discussed.
{"title":"Music composition for iPad performance: Examining perspectives","authors":"Patricia E. Riley","doi":"10.1386/JMTE.11.2.183_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.2.183_1","url":null,"abstract":"This qualitative research investigated a music composition created specifically for performance on iPads. It examined perspectives of the composers, performers and audience member participants. Composers were undergraduate music education majors with concentrations in music composition, performers were undergraduate music education majors, and audience members included music majors, composers, music theory professors and conductors of traditional large ensembles. Data included the notated composition and written reflection statements by the composers, performers and audience members. Reflection questions guided the statements, and included: how does composing for iPad instruments differ from composing for more traditional instruments? How do you feel performing on an iPad differs from performing on more traditional instruments? What were the challenges that you encountered and how did you respond to them? And, what did you like best and least about this composition and/or performance? The data were analysed for emergent themes, and the themes discussed.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88064117","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":"Music and the Myth of Wholeness: Toward a New Aesthetic Paradigm, Tim Hodgkinson (2016)","authors":"Jacob Thompson-Bell","doi":"10.1386/JMTE.11.2.218_5","DOIUrl":"https://doi.org/10.1386/JMTE.11.2.218_5","url":null,"abstract":"","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78659008","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":"Promising Practices in 21st Century Music Teacher Education, Michele Kaschub and Janice Smith (eds) (2014)","authors":"Zack Moir","doi":"10.1386/JMTE.11.2.213_5","DOIUrl":"https://doi.org/10.1386/JMTE.11.2.213_5","url":null,"abstract":"","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78657143","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 years there have been many calls to rethink the central place of common notation in music education, but it can be difficult to decide whether or how to change this fundamental aspect of pedagogy. The usefulness of various means of representing music depends on the specifics of the educational situation, including the music concepts and traditions being studied, instruments used, curriculum goals and even budget. A recent study of adult online learners highlighted the affordances of the open Internet in providing resources that allow teachers and students to move more freely among the various ways of representing music and to choose the most appropriate for each occasion, with opportunities for valuable music learning intrinsic in the process. Theoretical and pragmatic grounds for adopting a more open approach to music representation are discussed, as well as concerns and challenges.
{"title":"Open online resources and visual representations of music: New affordances for music education","authors":"Catherine Schmidt-Jones","doi":"10.1386/JMTE.11.2.197_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.2.197_1","url":null,"abstract":"In recent years there have been many calls to rethink the central place of common notation in music education, but it can be difficult to decide whether or how to change this fundamental aspect of pedagogy. The usefulness of various means of representing music depends on the specifics of the educational situation, including the music concepts and traditions being studied, instruments used, curriculum goals and even budget. A recent study of adult online learners highlighted the affordances of the open Internet in providing resources that allow teachers and students to move more freely among the various ways of representing music and to choose the most appropriate for each occasion, with opportunities for valuable music learning intrinsic in the process. Theoretical and pragmatic grounds for adopting a more open approach to music representation are discussed, as well as concerns and challenges.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80081770","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 its potential of improving an individual’s music notational literacy and the ease of use within the ensemble setting, the purpose of this study was to determine if frequent use of a web-based sight-reading software (sightreadingfactory.com) in full band rehearsals and group lessons would improve a band student’s individual music notational literacy level. For this study, the researcher utilized the pretest–post-test control–group statistical design with three groups of eighth-grade band students. Group 1 (n = 25) used the software at the beginning of every full band rehearsal, Group 2 (n = 31) used the software at the beginning of every small group lesson rehearsal, and Group 3 (n = 23) did not use the software in any capacity and served as the control group. The study lasted for eight weeks. The researcher individually administered the pretest to all student participants in Week 1 of the study and the post-test during Week 8. In order to determine which treatment caused the greatest change in music notational literacy, the researcher compared the mean gain scores of each group using an ANOVA and found statistically significant findings (F = 3.84, df = 2, p = 0.026). Group 1 (n = 25, M = 2.80, SD = 1.76) students’ mean gain scores were significantly higher than Group 3’s (n = 20, M = 0.90, SD = 2.02, p = 0.006 indicating) evident that the web-based software was most effective in the full ensemble rehearsals.
由于它具有提高个人音乐符号素养和在合奏环境中易于使用的潜力，本研究的目的是确定在乐队排练和小组课程中频繁使用基于网络的视觉阅读软件(sightreadingfactory.com)是否会提高乐队学生的个人音乐符号素养水平。本研究采用前测后测控制组统计设计，选取三组八年级乐队学生。第1组(n = 25)在每次全乐队排练开始时使用该软件，第2组(n = 31)在每次小组课排练开始时使用该软件，第3组(n = 23)不以任何身份使用该软件，作为对照组。这项研究持续了八周。研究人员在研究的第1周对所有学生参与者进行了单独的前测，并在第8周进行了后测。为了确定哪一种治疗导致了音乐符号能力的最大变化，研究人员使用方差分析比较了每一组的平均增益分数，并发现了统计学上显著的发现(F = 3.84, df = 2, p = 0.026)。组1 (n = 25, M = 2.80, SD = 1.76)学生的平均增益分数显著高于组3 (n = 20, M = 0.90, SD = 2.02, p = 0.006)，表明网络软件在全合奏排练中最有效。
{"title":"The effects of frequent use of a web-based sight-reading software on eighth graders’ music notational literacy","authors":"Amy J. Bovin","doi":"10.1386/JMTE.11.2.131_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.2.131_1","url":null,"abstract":"Due to its potential of improving an individual’s music notational literacy and the ease of use within the ensemble setting, the purpose of this study was to determine if frequent use of a web-based sight-reading software (sightreadingfactory.com) in full band rehearsals and group lessons would improve a band student’s individual music notational literacy level. For this study, the researcher utilized the pretest–post-test control–group statistical design with three groups of eighth-grade band students. Group 1 (n = 25) used the software at the beginning of every full band rehearsal, Group 2 (n = 31) used the software at the beginning of every small group lesson rehearsal, and Group 3 (n = 23) did not use the software in any capacity and served as the control group. The study lasted for eight weeks. The researcher individually administered the pretest to all student participants in Week 1 of the study and the post-test during Week 8. In order to determine which treatment caused the greatest change in music notational literacy, the researcher compared the mean gain scores of each group using an ANOVA and found statistically significant findings (F = 3.84, df = 2, p = 0.026). Group 1 (n = 25, M = 2.80, SD = 1.76) students’ mean gain scores were significantly higher than Group 3’s (n = 20, M = 0.90, SD = 2.02, p = 0.006 indicating) evident that the web-based software was most effective in the full ensemble rehearsals.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84408089","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}
F. D. Guillén-Gámez, Francisco J. Álvarez-García, Irene Maldonado Rodríguez
This study assesses whether the use of digital tablets in the context of Bring Your Own Device (BYOD) produces an alteration in the academic performance of high school music students. The grades of high school students were analysed and compared for two groups: experimental and control. The experimental group carried out the experiment using digital tablets, while a traditional methodology was used by the control group. The conclusions showed similar results regarding academic performance for a specific unit of the music subject. Students who used their own digital devices obtained statistically similar results to students who followed a more conservative process (even slightly superior in some parameters). Furthermore, there were no significant differences regarding gender. The research concludes that digital tablets in the music classroom are not a barrier for the academic performance of students, but rather a tool that helps in the teaching-learning process.
{"title":"Digital tablets in the music classroom: A study about the academic performance of students in the BYOD context","authors":"F. D. Guillén-Gámez, Francisco J. Álvarez-García, Irene Maldonado Rodríguez","doi":"10.1386/JMTE.11.2.171_1","DOIUrl":"https://doi.org/10.1386/JMTE.11.2.171_1","url":null,"abstract":"This study assesses whether the use of digital tablets in the context of Bring Your Own Device (BYOD) produces an alteration in the academic performance of high school music students. The grades of high school students were analysed and compared for two groups: experimental and control. The experimental group carried out the experiment using digital tablets, while a traditional methodology was used by the control group. The conclusions showed similar results regarding academic performance for a specific unit of the music subject. Students who used their own digital devices obtained statistically similar results to students who followed a more conservative process (even slightly superior in some parameters). Furthermore, there were no significant differences regarding gender. The research concludes that digital tablets in the music classroom are not a barrier for the academic performance of students, but rather a tool that helps in the teaching-learning process.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83749536","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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