Music, Technology, and Education

The use of technology in music and education can no longer be described as a recent development. Music learners actively engage with technology in their music making, regardless of the opportunities afforded to them in formal settings. This volume draws together critical perspectives in three overarching areas in which technology is used to support music education: music production; game technology; musical creation, experience and understanding. The fourteen chapters reflect the emerging field of the study of technology in music from a pedagogical perspective. Contributions come not only from music pedagogues but also from musicologists, composers and performers working at the forefront of the domain. The authors examine pedagogical practice in the recording studio, how game technology relates to musical creation and expression, the use of technology to create and assess musical compositions, and how technology can foster learning within the field of Special Educational Needs (SEN). In addition, the use of technology in musical performance is examined, with a particular focus on the current trends and the ways it might be reshaped for use within performance practice. This book will be of value to educators, practitioners, musicologists, composers and performers, as well as to scholars with an interest in the critical study of how technology is used effectively in music and music education.

Andrew King is Senior Lecturer in Music at the University of Hull, UK, where he has held numerous senior leadership roles such as Deputy Dean (Learning & Teaching) and Associate Principal. He is editor of the Journal of Music, Technology & Education and The Routledge Companion to Music, Technology, and Education. Evangelos Himonides held the University of London's first ever lectureship in music technology education. He is now Reader in Technology, Education and Music at University College London, UK, where he co-leads the Postgraduate Programme in Music Education. Evangelos is a Chartered Fellow of the British Computer Society.

Introduction PART 1: Music Production 1. Processes of Learning in the Project Studio Mark Slater 2. What has been left unsaid about studio practices: How producers and engineers prepare, manage and direct recording sessions Amandine Pras 3. Studio Pedagogy: Perspectives from Record Producers Andrew King 4. How Is Theoretical Research Meeting The Challenges of Pedagogy In The Field Of Record Production? Simon Zagorski-Thomas PART 2: Game technology 5. Impact of Music on Game play, and Communication of Emotional Intent Don Knox, Gianna Cassidy, Anna Paisley 6. Re-designing the familiar: How effective are directional control pads in developing musicianship in 8 - 12 year old children? Matthew C. Applegate 7. Game Technology in the Music Classroom: A platform for the design of music and sound Andrew R. Brown 8. Music-Games: New Opportunities for Music Education Anna Paisley, Gianna Cassidy PART 3: Musical creation, experience and understanding 9. Music Technology and the Realm of the Hyper-real: Comprehending, Constructing and Connecting Realities Phil Kirkman 10. Music Technology and Special Educational Needs: A Novel Interpretation Evangelos Himonides, Adam Ockelford 11. Using Experience Design in Curricula to Enhance Creativity and Collaborative Practice in Electronic Music Monty Adkins 12. Assessment processes and digital technologies Jonathan Savage, Martin Fautley 13. Performing with the Music Paint Machine: provoking an embodied approach to educational technology Luc Nijs, Marc Leman 14. Big Data and the future of education: A primer Evangelos Himonides. Index