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Theory and Practice of Technology-Based Music Instruction$
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Jay Dorfman

Print publication date: 2013

Print ISBN-13: 9780199795581

Published to Oxford Scholarship Online: November 2020

DOI: 10.1093/oso/9780199795581.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 17 September 2021

Future Considerations

Future Considerations

Chapter:
Chapter 10 (p.188) Future Considerations
Source:
Theory and Practice of Technology-Based Music Instruction
Author(s):

Jay Dorfman

Publisher:
Oxford University Press
DOI:10.1093/oso/9780199795581.003.0013

The dominant issues that the TBMI community will face for the next 30 years and beyond are just starting to appear through the fog. In this final chapter, I will introduce some of the trends that have recently emerged that may impact the development of TBMI pedagogy, and speculate on directions they might take. These trends include, but are certainly not limited to, (1) the emergence of mobile devices such as tablets and smartphones and their potential for music making; (2) the growing popularity of alternative and electronic ensembles; (3) concerns about connections between traditional forms of music making–specifically, the critical role that singing plays in learning to be musical–and music technology; (4) the possibilities of technology-enhanced distance learning in music; and (5) the critical examination we must do regarding social and inclusion issues, and their relationships to music technology. There is little doubt that mobile devices, and particularly the iPad, will revolutionize our work in TBMI. Interestingly, as I scoured the landscape for teachers in the K−12 environment who are using iPads in their classrooms as replacements for notebook or desktop computers, few examples emerged. This provides evidence that we are at a point in technological development where we are still very much a computer lab-based culture, but we see the promise of mobile devices. Mrs. J teaches at a small independent school. Although not an official designation, the school’s teachers consider it to be project-based, and much of what Mrs. J does in her music classes is designed around projects. Her fourth grade students were composing short melodies using their recorders and then using GarageBand on iPads to create accompaniments to their melodies. My questions for Mrs. J focused on the pedagogical aspects of using iPads in her classes. First we talked about her general experiences using iPads, especially given that her students share the devices in groups of three or four. The sharing aspect seemed like it might be problematic because the iPad is designed as a personal device, usually viewed and used by one person.

Keywords:   Mixcraft, Zenph Sound Innovations, active learning, alternative ensembles, collaborative online music making, cycle of mastery, gender and technology, multimedia learning, online tutorials, singing and TBMI, social and inclusion issues, socioeconomic diversity, spectrum, TBMI lesson content, tablet computers

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