The Oxford Handbook of Technology and Music Education
Series: Oxford Handbooks;
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Product details:
- Publisher OUP USA
- Date of Publication 30 April 2020
- ISBN 9780197502983
- Binding Paperback
- No. of pages736 pages
- Size 168x241x40 mm
- Weight 1157 g
- Language English
- Illustrations 12 b&w line; 15 b&w halftone 0
Categories
Short description:
The Oxford Handbook of Technology and Music Education situates technology in relation to music education from perspectives: historical, philosophical, socio-cultural, pedagogical, musical, economic, and policy.Chapters from a diverse group of authors provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field.
MoreLong description:
Few aspects of daily existence are untouched by technology. Learning and teaching music are no exceptions and arguably have been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching.
To tease out and elucidate some of the salient problems, interests, and issues, The Oxford Handbook of Technology and Music Education critically situates technology in relation to music education from a variety of perspectives: historical; philosophical; socio-cultural; pedagogical; musical; economic; policy, organized around four broad themes: Emergence and Evolution; Locations and Contexts: Social and Cultural Issues; Experiencing, Expressing, Learning and Teaching; and Competence, Credentialing, and Professional Development. Chapters from a highly diverse group of junior and senior scholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion promotes contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses.
Representing eight different countries, authors offering core perspectives bring expertise in school and community music, industry, research, teacher education, and other related fields. These authors and 19 others contribute further perspectives that expound on and sometimes differ from core perspectives. Authors explore music education and technology broadly, both inside and outside of the traditional school setting; consider benefits of interdisciplinary activity; and question the discrete roles of composer, performer, and producer that become increasingly blurred by social networking and inexpensive software and hardware...Readers are invited to enter the conversation through an online forum at the Oxford website.
Table of Contents:
CONTENTS
Foreword - Peter Webster and David B. Williams
Introduction - Roger Mantie and Alex Ruthmann
SECTION 1: EMERGENCE AND EVOLUTION
What constitutes a technology in music and music education?
In what ways as technology been used, and how has technology affected music education in different times and places?
Core Perspectives 1A
1. Thinking about Music and Technology
Roger Mantie
2. Technology in Music and Music Education in England
and Across Europe
Marina Gall
Further Perspectives 1A
3. Savoring the Artistic Experience in an Age of Commodification
Chee Hoo Lum
4. Music Technology in Ethnomusicology
Gabriel Solis
5. The Role of "Place" and Context
Janice Waldron
6. Slow Music
Rena Upitis
7. Then and Now
David A. Williams
How have music educators negotiated the role of technology within the broader terrain of educational policy and practice?
What is the role and what are the effects of commerce and industry on learning, teaching, and technology within schools?
Core Perspectives 1B
8. Globalization and Technology in 21st Century Education
Samuel Leong
9. Technology in the Music Classroom in Greece
Smaragda Chrysostomu
Further Perspectives 1B
10. Building a Broad view of Technology in Music Teacher Education
Heidi Partti
11. Technology in the Music Classroom in Kenya
Emily Akuno
12. Pondering an End to Technology in Music Education
Joe Pignato
13. A Software Creator's Perspective
Joe Berkovitz
14. Where Might We Be Going?
Jonathan Savage
15. Loaded Questions for an Emerging World
John-Morgan Bush
16. Music Learning in Music Education
Jason Chen
SECTION 2: LOCATIONS AND CONTEXTS: SOCIAL AND CULTURAL ISSUES
What are the impacts of technology (positive and negative) on different communities, socio-economic areas, and parts of the World?
What can be done to mitigate the negative effects of technology while accentuating the positive?
Core Perspectives 2A
17. Critical Perspectives from Africa
Benon Kigozi
18. Interest-driven Music Education
Kylie Peppler
19. Situating Technology Within and Without Music Education
Joe Pignato
Further Perspectives 2A
20. Human Potential, Technology and Music Education
Smaragda Chrysostomu
21. "Placing" Technology within Music Education Communities
Ailbhe Kenny
22. The Promise and Pitfalls of the Digital Studio
Ethan Hein
23. Musicking and Technology in Sweden
Bo Nilsson
24. Exploring Intersections of Technology and Music Education
Gillian Howell
How are technology and music technology changing use? How are we changing technology?
How are music educators responding to social, cultural, and economic issues? How should they?
Core Perspectives 2B
25. Pedagogical Fundamentalism to Radical Pedagogy in Music Education
Heidi Partti
26. Society, Schools, and Music Learning
Valerie Peters
27. Locating Technology within Music Education
Evan Tobias
Further Perspectives 2B
28. Technology in Perspective: Who is in Control?
Patricia Gonzales
29. The Curious Musician
Leah Kardos
30. On Becoming Musical: Technology, Possibilities and Transformation
Gena Greher
31. The Role of Music in Public Health Education
Carlos Chirinos
32. Thinking and Talking about Change in Music Education
Roger Mantie
33. A Sociological Perspective on Technology in Music Education
Ruth Wright
SECTION 3: EXPERIENCING, EXPRESSING, LEARNING, AND TEACHING
What are the ramifications of technological change on music teaching and learning in the classroom? What can technology do for music education?
In what ways has technology forced us to re-evaluate definitions of musicality? Of musicianship? Of who is and is not a musician?
In what ways has technology transformed our understandings of creativity? What are some of the untapped potentials in this area?
Core Perspectives 3A
34. Power and Choice in the Teaching and Learning of Music
Chee-Hoo Lum
35. Music Fluency for Music Creation and Composition
Barbara Freedman
36. Playing (in) the Digital Studio
Ethan Hein
Further Perspectives 3A
37. Considering Music Technology and Literacy
Jay Dorfman
38. Technology and Collaboration for People with Significant Disabilities
Donald DeVito
39. Prosumer Learners and Digital Arts Pedagogy
Samuel Leong
40. A Pluralist Approach to Music Education
James Humberstone
41. Augmenting Music Teaching and Learning with Technology and Digital Media
Evan Tobias
42. Possibilities for Inclusion with Music Technologies
Deborah Vanderlinde
What are examples of effective uses of technology? Under what conditions might technology be inappropriate or ineffectice?
What are familiar challenges to implementation and what strategies have thus far proven effective?
Are there limits to what technology affords?
Core Perspectives 3B
43. Limitations of Technology in Community Music
Gillian Howell
44. Meaningful and Relevant Technology Integration
Michael Medvinsky
45. The Convergence of Networked Technologies in Music
Teaching and Learning.
Janice Waldron
Further Perspectives 3B
46. Narcissim, Romanticism, and Technology
Evangelos Himonides
47. Pedagogical Decision Making
Ryan Bledsoe
48. Equity and Access in Out-of-School Music Making
Kylie Peppler
49. Technology, Sound, and the Tuning of Place
Sandy Stauffer
SECTION 4: COMPETENCE, CREDENTIALING, AND PROFESSIONAL DEVELOPMENT
Should music technology be taught as an independent subject, or should it serve existing curriculum and instruction? How might technology best serve the needs of students and teachers?
How can music educators develop and maintain skills beyond their teacher education programs?
What sorts of canonized practices have emerged, and how might these impact on music teacher education?
Core Perspectives 4A
50. Traditions and Ways Forward in the United States
Jay Dorfman
51. Technology and Invisibility in Music Teacher Education
Gena Greher
52. Authentic Approaches to Music Education with Technology
Jonathan Savage
Further Perspectives 4A
53. Technology in Music Initial Teacher Education
Marina Gall
54. Using Mobile Technologies and Problem-Seeking Pedagogies to Bridge Universities and Workplaces
Julie Ballantyne
55. Applications of Technology in Music Education from Selected Countries
Benon Kigozi
56. Defining and Acknowledging Music Education Technology in Music Teacher Training
Lauri Väkevä
57. Learner Engagement and Technology Integration
Michael Medvinsky
What are the ramifications of technology and technological change on music teacher education programs?
What tensions exist in terms of credentialing and accreditation? Whose responsibility is it for professional development and certification?
Core Perspectives 4B
58. Faculty Development in and through the Use of ICT
Patricia Gonzalez
59. Educators' Roles and Professional Development
Evangelos Himonides
60. Music Technology Pedagogy and Curricula
David A. Williams
Further Perspectives 4B
61. Why Isn't Music Education in the US more 21st Century PC?
Barbara Freedman
62. Generating Intersections between Music and Technology
Matthew Hitchcock
63. Preparing for Change and Uncertainty
Valerie Peters
