Music Learning Today

""At the beginning of Chapter 1, I quote author Arthur C. Clarke, who wrote "Any sufficiently advanced technology is indistinguishable from magic" (1984, p. 36). To me, technology has always been somewhat magical. Growing up I liked both magic tricks and electronic gadgets. When I was very young I remember being picked out of the audience by a magician to help him with a trick, thrilled with the seemingly mystical act that he accomplished with my assistance. I loved seeing magicians live or on TV, and I borrowed magic books from the local public library to learn tricks that I tried out on my family. As I became older and obtained various technological devices, they too fascinated me with the somewhat magical (to me) things they were able to do. Two items, in particular, stand out in my memory. I acquired an analog audio tape recorder that I used to play duets with myself by recording one part and then playing it back while performing the other part live. This made practicing my euphonium so much more fun and likely increased my practice time as I worked to record the perfect "take" of each line of the various duets I had in my books! I was also excited to receive a CB radio one Christmas, which allowed me to stay in close contact, at all times of the day and night, with my best friend who had received the same gift. It augmented my social network, such as it existed in those days. In addition, it was amazing to be able to use the radio to listen to and learn from the conversations picked out of the air of people from all over. Technology had magical qualities and I loved how it allowed me to do things that were otherwise not possible, as well as things that made life more interesting and enjoyable. I still feel the same way today. ""--

Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. Designed for use by pre- and in-service music teachers, it provides the essential understandings required to become an adaptive expert with music technology, creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship. Author William I. Bauer makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. His essential premise is that music educators and students benefit through use of technology as a tool to support learning in the three musical processes - creating, performing, and responding to music. The philosophical and theoretical rationales, along with the practical information discussed in the book, are applicable to all experience levels. However, the technological applications described are focused at a beginning to intermediate level, relevant to both pre-service and in-service music educators and their students. This expanded second edition features an all-new student-friendly design and updated discussions of recent technological developments with applications for music teaching and learning. The revamped companion website also offers a new teacher's guide, with sample syllabi and lessons for each chapter.

How do children learn music? And how can music teachers help children to become independent and self-sufficient musical thinkers? Author Eric Bluestine sheds light on these issues in music education.

The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined. In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.

This book offers an overview of the complex world of digital materials for music education and of their possible use in the everyday practice of music teachers. It presents a multidimensional taxonomy of digital materials for music education. Through the taxonomy it is possible to derive a clear framework of the whole field and to perform analysis of the state of art. The book shows the use of this flexible and powerful knowledge tool for reviewing the digital materials in the various domains and dimentions. The book provides researchers and designers with an overview of what has already been designed, proposed and tested in the field. It also offers music teachers a wider perspective of the possibilities connected to current technologies in the field of music education, and it suggests possible interrelationships between research and music education practices.

In this new edition of their groundbreaking Kodály Today, Mícheál Houlahan and Philip Tacka offer an expertly-researched, thorough, and -- most importantly -- practical approach to transforming curriculum goals into tangible, achievable musical objectives and effective lesson plans. Their model -- grounded in the latest research in music perception and cognition -- outlines the concrete practices behind constructing effective teaching portfolios, selecting engaging music repertoire for the classroom, and teaching musicianship skills successfully to elementary students of all degrees of proficiency. Addressing the most important questions in creating and teaching Kodály-based programs, Houlahan and Tacka write through a practical lens, presenting a clear picture of how the teaching and learning processes go hand-in-hand. Their innovative approach was designed through a close, six-year collaboration between music instructors and researchers, and offers teachers an easily-followed, step-by-step roadmap for developing students' musical understanding and metacognition skills. A comprehensive resource in the realm of elementary music education, this book is a valuable reference for all in-service music educators, music supervisors, and students and instructors in music education.

Cartographies of becoming in education: A Deleuze-Guattari Perspective proposes a non-hierarchical approach that maps teaching and learning with the power of affect and what a body can do/become in different educational contexts. Teaching and learning is an encounter with the unknown and happen as specific responses to particular problems encountered with/in life. In this edited volume, international scholars map out potential ruptures in teaching and learning in order to conceptualize education differently. One way is through the multidisciplinary lens of MLT (Multiple Literacies Theory) in which reading is intensive and immanent. The authors deploy different aspects of MLT while creating and experimenting with ethology, teaching, learning, curriculum, teacher education and technology in relation to visual arts, music, mathematics, theatre, workplace literacy, second language education, and architecture. With the forces of globalization, digital media and economic re-structuring reconfiguring the social, political and economic landscape, societies require innovative ways of thinking about education. Cartographies of becoming in education: A Deleuze-Guattari Perspective is a response to problems posed by such forces. The problematic surrounding Deleuze-Guattari and education continues to grow. Diana Masny’s scholarship in this area is well known and appreciated through her many essays and books that develop MLT (Multiple Literacies Theory). Cartographies of Becoming in Education: A Deleuze-Guattari Perspective continues her effort to broaden the notion of education and show its intersections with MLT. The series of essays do this by forming a number of ‘entries,’ five to be precise: politicizing education, affect and education, literacies and becoming, teacher-becomings, and deterritorializing boundaries. Each ‘entry’ explores the way an MLT inflected orientation enables us to further grasp the creative inventiveness of the Deleuze-Guattarian tool kit that can be applied to areas of music education, ethnography, art, drama, literacy, mathematics, landscape ecology, ethology and teacher education. It is a vivid illustration of the cartography that maps the rhizomatic movements that are taking place by international scholars who are deterritorializing education as a discipline of modernity. I highly recommend this collection of essays to those of us who are continually asking how might education be rethought through the unthought. It opens up new territories. – Jan Jagodzinski, University of Alberta, Author of Psychoanalyzing Cinema.