![]() Bauer makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. Designed for use by pre- and in-service music teachers, it provides the essential understandings required tobecome an adaptive expert with music technology, creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship.Author William I. Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion promotescontrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses. Chapters from a highly diverse group of junior and seniorscholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. 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. ![]() 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. Learning and teaching music are no exceptions and arguably have been impacted as much or more than other areas of life. ![]() Silverstein adds: “It’s about being able to re-create existing styles, understanding the cultural zeitgeist of music.” (Listen to Amper's sample music here and judge for yourself.Few aspects of daily existence are untouched by technology. The way Amper claims to solve the problem is not by looking at it as a data science problem, but as a music creation problem, where AI actually helps the computer understand human emotion. That is, you can equip a computer with AI to create a “perfect” piece of music, but unless it elicits the emotions of the audience, the computer will not be the next music superstar. But to create really good music, the perception of the listener is as important as the process of creation. This sounds like good news for everyone, except for professional musicians and composers who may balk at the competitive threat of AI-enabled quality compositions. For an amateur musician, Amper allows you to work better with technology than you can with an instrument it's the expression of that creativity, regardless of someone's background.” ![]() In ten years, will anybody be able to create his or her own piece of content with original music, with the use of AI-enabled music creation tools?ĭrew Silverstein, CEO of Amper, thinks so: “You don't need to be musical to be able to express yourself through music. With simple web tools, anybody can have a global online storefront up and running in a few days. The idea that anybody can potentially generate creative content (like videos, ads, online games) and use AI tools to add original music is analogous to what the internet did to help democratize entrepreneurship. So AI-generated music is becoming a reality, at least for simple musical arrangements. For example, click here to listen to Project Magenta's first composition. Basic notes, tones, and chords can be easily programmed into a computer, and with machine-learning techniques computers can learn to create music. On that note, well, the basics of music are pretty logical. Whenever pioneering technologies emerge, my advice to students in digital innovation courses is not to wonder whether or not the technology will disrupt an industry, but the extent to which it will.
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