Mrs. Jones has 14 years of teaching under her belt. She received her music education degree from an excellent state university program and completed a master’s in music education early in her career during the summers. After teaching at several levels, she has settled in a good junior high school position in an upper middle-class neighborhood. The music department—she and two other teachers—is a collaborative group that consistently turns out strong performances for the school and community. About five years ago, Mrs. Jones noticed that technology was becoming an increasingly important part of many of the school music programs she considered to be on par with her own. She had introduced some technology in her orchestra class—she used notation software to create warm-up exercises and often played listening examples for the students that she stored on her iPod. So, with the same enthusiasm that she approaches most of the parts of her job, she approached her principal about funding a computer lab for the music department. Her request was met with excitement. The principal agreed to set up a lab dedicated to the music department and to schedule a class for Mrs. Jones to teach called Music Technology for the following fall. There was no established curriculum for the class, but Mrs. Jones would have the summer to assemble the curriculum and lesson plans, in consultation with the principal and the other music teachers. They all recognized that starting this class would bring new students to their excellent music department and could only draw more public attention to their good work. The lab would have 15 student stations and an additional station for the teacher. None of the music teachers or the school’s administrators had any expertise in designing computer labs, so they left that task up to the district’s architects. The information technology (IT) department was enlisted to set up all of the hardware and software and to make appropriate network and server connections, with enough time for Mrs. Jones to get used to the lab before the school year would begin.
Ubiquitous computing scenarios such as the one-to-one model, in which every student is issued a device that is to be used across all subjects, have increased in popularity and have shown both positive and negative influences on education. Music teachers in schools that adopt one-to-one models may be inadequately equipped to integrate this kind of technology into their classrooms. The purposes of this study were to observe the behaviors and explore the dominant perceptions and concerns of music teachers in schools with one-to-one technology programs. This four-case study was based on the concerns-based adoption model, which has previously been used to analyze stakeholders' concerns about adoption of an innovation such as a new technology. Participant teachers expressed their concerns about adoption of one-to-one technology in their schools and classrooms as they related to musical goals, extent of integration, changes that could improve the programs, and other pedagogical factors. Results showed that while the participants used the technologies in distinct ways and to varying extents, they shared concerns about technical support, pedagogical support, and authenticity of integration.Keywords music education, technology, one-to-one, 1 to 1, 1:1For the past two decades, several models of ubiquitous computing 1 have been implemented in American schools. This type of technology integration involves teachers and students having access to portable technology whenever and wherever they want it and suggests that the technologies "disappear into the background" of the normal
Research methods courses have become commonplace in the graduate music education curricula of American universities, and this topic is an element of graduate study in music education required for a university to obtain membership in the National Association of Schools of Music (2001). Other parts of music teacher education, such as applied instrument and voice studies, conducting, and pedagogical studies, perhaps hold a more clearly defined role than does the research component. Balancing between traditional curricular components and recent additions such as research methods remains the basis of difficult decisions for curriculum designers. Honing graduate curricula to meet the needs of students should not be done merely based on speculation. The attitudes of graduate students in music toward the study and application of research are important considerations in this quest. This investigation is intended to provide support, based on expression of student opinion, for the inclusion of research methods courses in their curriculum. 1
Based on educational theory and on recognized music teaching methods, Theory and Practice of Technology-Based Music Instruction develops a framework for examining music teaching that uses technology to introduce, reinforce, and assess skills and concepts. The framework guides in-depth discussions about theoretical and philosophical foundations of technology-based music instruction (TBMI), materials for teaching, teaching behaviors, and assessment of student work, teacher work, and fit of technology into the music program. The book includes examples of TBMI lessons from real teachers, and analyses of the successful and developing parts of these lessons. The book also addresses issues of accountability and standards; recommendations for professional development; and the future of the field, embodied in emerging technologies, alternative ensembles, and social issues. It will be a key volume for teachers implementing new curricular offerings and for music teacher educators as a foundation for teaching with technology beyond a focus on software and hardware.
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