1. Overview CMOther 80% Two Paths: Reflections on Technology in Music Education Rick Dammers BIMUC April 27, 2007 Rationale

2. Overview CMOther 80% Opportunity: Ubiquitous computing in the music classroom Systems Approach: People and purposes before technology Overview

3. CMOther 80% Two Paths: Comprehensive Musicianship Reaching the ‘Other 80%’ Overview

4. CMOther 80% 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. CM

5. Overview CMOther 80% 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. CM

6. Overview CMOther 80% Comprehensive Musicianship Theory Practice Efficiency Performance Orientation Tradition Ubiquitous Computing Complete Musicianship CM

7. Overview CMOther 80% Teaching Approaches Group composition projects Compositional mini-projects in rehearsal Enrichment projects PowerPoint Listening Guides CM

8. Overview CMOther 80% Anecdotal Outcomes Improved conceptual understanding Increased student ownership Found ‘star’ composers Possible to compose in-rehearsal CM

9. Overview CMOther 80% Research Descriptive study of in-rehearsal composition Eighth Grade Band Based on piece performed in class Evaluated for Craftsmanship, Creativity, Conceptual Understanding CM

10. Overview CMOther 80% CM

11. Overview CMOther 80% Findings from Research Modest composition skills Craftsmanship masked creativity Conceptual disconnect Reinforced CM concerns Feasible to compose in rehearsal Extensive revision/ Limited revision Performance disconnect CM

12. Overview CMOther 80% Challenges Directors’ fear of composition Misalignment of performing and understanding Disconnect between technology and pedagogy CM

13. Overview CMOther 80% Next Steps Pedagogy of performance-based composing CM

14. Overview CMOther 80% Next Steps Efficient technology strategies for listening, analysis, and ‘knowledge about’ CM

15. Overview CMOther 80% Next Steps Win hearts and minds (pedagogy paradigm shift) CM

16. Overview CMOther 80% Reaching the other 80% Establish a new path Computer-based music classes in middle and high schools Other 80%

17. Overview CMOther 80% Starting Fresh Focus on the individual learner Differentiated instruction Empowering musical environments Broader access to musical traditions Connect modes of music activity Public enthusiasm Other 80%

18. Overview CMOther 80% Music Through Technology Technology-based survey of musical styles One semester high school course Project based and highly individualized Sections limited to 12 students 1 to 1 computing Other 80%

19. Overview CMOther 80% Music Through Technology High demand Found our ‘outside musicians’ Success for weaker academic students Other 80%

20. Overview CMOther 80% Challenges Limited school resources “Dumping” Disconnect between technology and pedagogy Gender Breadth vs. Depth Other 80%

21. Overview CMOther 80% Next Steps Define curricular aims first: Broad musical literacy Other 80%

22. Overview CMOther 80% Next Steps Curricular Issues: Notation Skills Performance Multimedia Popular Music Engaging the broader culture Other 80%

23. Overview CMOther 80% Next Steps Model programs Focus tech. in-service on pedagogy Modify teacher education programs Examine broader academic impacts Other 80%

24. Overview CMOther 80% Five years from now…. Other 80%