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Overview CM Other 80%
Two Paths: Reflections on Technology in Music
Education
Rick DammersBIMUC
April 27, 2007
Rationale RationaleRationale
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Opportunity:Ubiquitous computing in the
music classroom
Systems Approach: People and purposes before
technology
Overview
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Two Paths:
Comprehensive Musicianship
Reaching the ‘Other 80%’
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Grout (1966)Typically, a person studying music “is engaged in
perfecting his skills at manipulating some kind of instrument for the purpose of producing musical
sounds… But really it is as if one were to say, ‘I am studying English literature,’ when in fact he is cultivating his voice so as to pronounce words and sentences in as
pleasing a manner as possible.” (p.132)
Grout, D. (1966). The divorce of music and learning. In B.C. Kowall (Ed.), Perspectives in music education: Source book III. (pp. 131-138). Washington D. C.: Music Educators National Conference.
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Comprehensive Musicianship
• Personal discovery • student-centered• active learning
• Multiple modes• composition• analysis• performance
• Gestalt psychology • music is approached as a totality• “explorative and creative enterprise”• not “ a mechanistic or an atomistic process”
Willoughby, D. (1990). Comprehensive Musicianship. The Quarterly, 1(3), 39-44.
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Comprehensive Musicianship
Theory Practice
Efficiency
PerformanceOrientation
Tradition
Ubiquitous Computing
Complete Musicianship
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Teaching ApproachesGroup composition projects
Compositional mini-projects in rehearsal
Enrichment projectsPowerPoint Listening Guides
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Anecdotal OutcomesImproved conceptual understanding
Increased student ownershipFound ‘star’ composers
Possible to compose in-rehearsal
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ResearchDescriptive study of in-rehearsal
composition Eighth Grade Band
Based on piece performed in classEvaluated for Craftsmanship, Creativity,
Conceptual Understanding
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Findings from ResearchModest composition skills
Craftsmanship masked creativityConceptual disconnect
Reinforced CM concerns Feasible to compose in rehearsal
Extensive revision/ Limited revisionPerformance disconnect
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Challenges Directors’ fear of composition
Misalignment of performing and understanding
Disconnect between technology and pedagogy
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Next Steps
Pedagogy of performance-based composing
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Next Steps
Efficient technology strategies for listening, analysis, and ‘knowledge
about’
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Next Steps
Win hearts and minds (pedagogy paradigm shift)
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Reaching the other 80%
Establish a new path Computer-based music classes in
middle and high schools
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Starting FreshFocus on the individual learner
Differentiated instructionEmpowering musical environmentsBroader access to musical traditions
Connect modes of music activityPublic enthusiasm
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Music Through TechnologyTechnology-based survey of musical
styles One semester high school course
Project based and highly individualizedSections limited to 12 students
1 to 1 computing
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Music Through TechnologyHigh demand
Found our ‘outside musicians’Success for weaker academic
students
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ChallengesLimited school resources
“Dumping”Disconnect between technology and
pedagogyGender
Breadth vs. Depth
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Next Steps Define curricular aims first:
Broad musical literacy
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Next Steps Curricular Issues:
NotationSkills
PerformanceMultimedia
Popular MusicEngaging the broader culture
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Next Steps Model programs
Focus tech. in-service on pedagogyModify teacher education programsExamine broader academic impacts
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Five years from now….
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