ML-Maquette / Musique Lab 2
by Jean Bresson
Jean Bresson.
Proc. International Computer Music Conference, New York / Stony Brook, NY, USA, 2010.
Musique Lab 2 is an educational application providing music teachers with means to develop new pedagogical approaches... more Musique Lab 2 is an educational application providing music teachers with means to develop new pedagogical approaches and situations using computer tools. It is based and developed on top of the OpenMusic computer-aided composition environment and benefits from the underlying music representation, computational possibilities and from the extended compositional knowledge and practice existing in this environment.
Musique Lab 2: A Three-Level Approach for Music Education at School
by Jean Bresson
V. Puig, F. Guédy, M. Fingerhut, F. Serrière, J. Bresson, O. Zeller. Proc. International Computer Music Conference, Barcelona, Spain, 2005.
La digitalización de soportes de audio con fines docentes en un entorno virtualizado
Co-authored with Iglesias Iglesias, Iván. Published in 'I Congreso Internacional sobre aprendizaje, innovación y competitividad', CINAIC 2011. Madrid:2011
Dentro de las actividades propias del Espacio Europeo de
Educación Superior, y en el caso concreto de los nuevos... more
Dentro de las actividades propias del Espacio Europeo de
Educación Superior, y en el caso concreto de los nuevos Grados
Universitarios cuya dimensión estructural se basa en la casi
“construcción diaria” y comprobación de metodologías innovadoras
de aprendizaje, la oportunidad de desarrollar nuevos métodos
docentes supone un gran aliciente en el camino hacia la excelencia, y
permite dotar al alumno de múltiples herramientas alternativas de
aprendizaje.
Hoy en día, cualquier metodología pasa por la aceptación del mundo
tecnológico que nos toca vivir y, en la mayoría de los casos, su
aprovechamiento para la práctica diaria.
A través de este trabajo se pretende implementar una sencilla
herramienta metodológica, basada en la virtualización de contenidos
y el desarrollo profesional docente y su posible interdisciplinariedad
en función de los resultados. Todas estas actuaciones redundarán en
una mejora de la calidad de la docencia en las titulaciones adaptadas
al E.E.E.S.
104 views
Seen by:
Download (.pdf) Reflections on teaching the aesthetics and sociology of music online
by David Hebert
International Review of the Aesthetics and Sociology of Music, 39(1) 93-103.
Discusses recent music technologies and the rise of online graduate programs in music, providing reflection on the... more Discusses recent music technologies and the rise of online graduate programs in music, providing reflection on the pioneering experience of teaching online courses in sociomusicology and the aesthetics of music. Three key topics are considered, including effectiveness and outcomes, quality assurance, and international collaboration. While distance education technology may be used, an innovative 'blended learning' approach—utilizing both traditional instruction and online learning—is advocated as an effective program format for international collaboration in graduate music education.
Five Challenges and Solutions in Online Music Teacher Education.
by David Hebert
Research and Issues in Music Education. Available online, open-access in RIME vol. 5. A response by Kenneth H. Phillips and the author's rejoinder is in RIME vol. 6.
An examination of issues and challenges in the management of online music degree programs. Five key issues are... more
An examination of issues and challenges in the management of online music degree programs. Five key issues are discussed: (1) prejudice regarding the legitimacy of online degrees; (2) coordination between distance education and music departments; (3) pressure to maximize profits at the expense of educational quality; (4) management of adjunct music instructors; and (5) management of student behavior and provision of student services. The author acknowledges criticisms, proposes solutions to various problems, and identifies both the potential strengths and future opportunities associated with online degree programs.
A response by Kenneth H. Phillips and the author's rejoinder is in RIME vol. 6:
See http://www.stthomas.edu/rimeonline/vol5/index.htm
(vol. 5)
Also see http://www.stthomas.edu/rimeonline/vol6/index.htm
(vol. 6)
A virtualitásról és zenei nevelésről on-line Környezetben/On virtuality and music education in online environments
by David Hebert
Parlando: Zenepedagógiai folyóirat, 48(4). In Hungarian translation, Mariann, Ábrahám.
Refereed paper from The Changing Face of Music Education: Music and Environment (CFME09) International Conference,... more
Refereed paper from The Changing Face of Music Education: Music and Environment (CFME09) International Conference, Tallinn University, Estonia (23–25 April 2009). Discusses the notion of virtuality in relation to contemporary musical experience and musical meaning, introduces the concept of 'glocalimbodied' musicality, and contemplates its implications for music pedagogy and learning, specifically online music education.
.................
Theoretical Background/Introduction
Universities have increasingly expanded their sphere of operations to encompass online learning environments in recent years, engendering substantial reforms that extend even to the level of doctoral studies (Lee & Boud, 2009). Online music education has been identified as a vital new growth area (Finney & Burnard, 2007), and already more than 400 students have enrolled in online courses as members of the world’s largest music education doctoral program (Hebert, 2008). Meanwhile, in the field of philosophy, musical meaning has increasingly come to be understood as inextricably connected to embodiment (Hebert, in press). Meaning in online music education, therefore, represents a previously unexamined paradox that serves as the crucial guiding question for this inquiry: To what extent may a ‘virtual’ embodiment retain the same profundity of meanings associated with traditional musical experience, thereby enabling similarly meaningful music making, learning, and teaching within online environments?
Aim/Main Idea
This paper interrogates the notion of virtuality and related concepts of embodiment and meaning in musical experience, specifically in terms of their applications in online education. Consider, for example, that if one accepts that the experience of profundity in music may be substantively articulated and socially shared (Davies, 2002), and that such musical meanings are conceptualized in terms of embodied metaphors (Johnson, 2007), it follows that the conditions of disembodied virtuality in online environments may lead to altered (or impaired) musical experiences. Alternatively, future incarnations of virtual musicality might embody an aesthetic that was previously unimaginable, following trajectories already established in creative online music communities. Either way, such axiological dimensions of virtuality surely have ‘real world’ artistic ramifications (Ostwald 2004). Consider issues raised regarding what are perceived as inevitable shortcomings and insurmountable quality assurance challenges associated with online music education (Austin, 2007; Phillips, 2008). I argue that this notion of virtual musical embodiment provides an ideal foundation from which to devise effective conceptual frameworks to evaluate the meaningfulness of music education in online environments. It follows that musical meanings in this context be considered in terms of qualities of virtuality. Based on this premise, I assert that many traditional programs, lacking in virtuality, are likely to succumb to a ‘blended learning’ format in the future, which embraces the most compelling features of live and virtual environments. Consequently, the need to redevelop educational guidelines and accreditation policies in response to the unique present (and future) challenges of online environments features prominently in my conclusions.
Method(s) and Main Contribution/Application
Although philosophical in method (Jorgensen, 2006), this essay makes frequent reference to current developments in music education practice in order to clearly illustrate its implications. I consider the ontological bases of virtual musical experience and epistemological bases of musical knowledge acquisition via virtual embodiment, the intended result being a clearer understanding of both the fundamental issues at stake and future possibilities for improvement of music education.
Implication/Conclusion
The conclusions of this paper have implications for music educators who are either contemplating expansion into the online environment or seeking to devise effective means of enhancing online program evaluation and quality assurance.
Music Learning and New Media in Virtual and Online Environments
by David Hebert
Prepublication draft. Ruthmann, S. A. & Hebert, D. G. (in press). Music learning and new media in virtual and online environments. In G. McPherson and G. Welch (Eds.), Oxford Handbook of Music Education. New York: Oxford University Press. http://ukcatalogue.oup.com/product/9780199928019.do
The recent shift, seen now in much of the world, from a traditional Eurocentric curriculum (typically emphasizing... more The recent shift, seen now in much of the world, from a traditional Eurocentric curriculum (typically emphasizing Western classical music) to one that embraces a wider diversity of musical practices is generally based upon an interrelated set of foundational arguments, many of which are quite relevant to the theme of online and virtual music learning. One impetus springs from the recognition that in many nations, the voices and histories of minority groups have tended to receive less attention in educational settings, leading to an undesirable reification of systemic cultural alienation. Through free and “user friendly” technologies, many contemporary youth are creating and sharing music online with personal websites and online networks of peers that celebrate shared musical interests. The use of such technologies for music learning enables lessons to be delivered in ways that are attractive to the new generation of students.
Researching the Development of a Foundation Degree in Musical Instrument Retail Management: A Case Study Partnership between the University of Glamorgan and Roland UK
by Paul Carr
Now published - see link
THIS PAPER discusses the academic, governmental and logistical issues surrounding the University of Glamorgan’s recent... more
THIS PAPER discusses the academic, governmental and logistical issues surrounding the University of Glamorgan’s recent involvement in developing accredited training and education for one of the largest music technology manufacturers in the world – Roland UK. The paper reports the joint development of a Foundation Degree in Music Retail Management, reflecting upon the viability of implementing work
based learning (WBL), including accrediting current training and prior learning (APL). Through analysing the early stages of the project, the paper aims to formulate a clearer perspective of what the University of Glamorgan and Roland UK, in addition to the government and the music retail industry, actually require
from a foundation degree such as this. After presenting a synopsis of the current political climate and
contextualising the existing status of musical instrument retail training, an overview is provided of the development of the Roland/Glamorgan partnership. This is followed by a discussion of the philosophical debates and mechanisms currently surrounding the implementation and accreditation of WBL. The paper cumulates with the development of a pedagogical model that takes into account the quality issues of
both the University of Glamorgan and Roland UK in addition to government policy. Conclusions are then drawn regarding the importance of both institutions developing appropriate structural capital and being aware of cultural differences that can potentially restrict academic/industrial partnerships. Although this pilot was focused specifically upon Roland UK, its wider implications, in terms of the demand for accredited training for the music instrument retail industry, are considered.
Researching the Development of industry based Foundation Degrees: A Case Study Partnership between Glamorgan University and Roland UK
by Paul Carr
Draft Awaiting Puplication
This case study outlines the progressive development of a strategic partnership between Glamorgan University and one... more This case study outlines the progressive development of a strategic partnership between Glamorgan University and one of the largest music technology manufacturers in the world – Roland. The resultant Roland ‘Music Academy’ was officially launched in April 2008 at the ATRiuM in Cardiff by Roland Founder Ikutaro Kakahashi, who was presented with an honorary professorship for his services to music, and has subsequently proceeded to the research and development of two work - based foundation degrees: the Foundation Degree in Popular Music Technology and the focus of much of this case study - the Foundation Degree in Music Retail Management. In addition to discussing the development of both qualifications, the study will also report upon factors such as the impact of cultural similarities/differences of the education/industry divide, the potentials for implementing Work Based Learning in the music retail sector and practicalities of offering Accreditation for Prior Learning (APL).
VEMUS: An Integrated Platform to Support Music Tuition Tasks
by Iro Voulgari
Tambouratzis, G., Perifanos, K., Voulgari, I., Askenfelt, A., Granqvist, S., Hansen, K. F., et al. (2008). VEMUS: An Integrated Platform to Support Music Tuition Tasks. In 2008 Eighth IEEE International Conference on Advanced Learning Technologies (pp. 972-976). Santander, Cantabria: IEEE. doi: 10.1109/ICALT.2008.223.
In this paper, the VEMUS platform is presented, as a novel approach for music tuition that focuses on beginner and... more
In this paper, the VEMUS platform is presented, as a novel approach for music tuition that focuses on beginner and intermediate students, typically aged from 9 to 15 years. This platform is characterized by an open, highly interactive and networked multilingual music tuition framework that covers a selection of popular wind instruments. The VEMUS environment integrates innovative, pedagogically-motivated
e- learning components to augment traditional music teaching in three distinct learning settings, namely self-practicing, classroom and distance learning. In the present article, the current stage of development of VEMUS is presented, and the areas where it might be of most use towards supporting the educational activities associated with music tuition are identified.