PurposeHow does one classify instructional videos uploaded by musicians of different caliber and mastery on video‐sharing sites? What kinds of communities are forming around these content sources? How does one address the different perception and understanding of what music means to a diverse audience? How does one identify and address the needs of new kinds of users, who learn how to play music by using primarily online resources? While this paper does not seek to directly address all these questions, it aims to raise them with the aim of contextualizing the discussion as a necessary foundation to effectively address the more practical questions above.Design/methodology/approachThis paper presents a knowledge organization model of music knowledge based on the concept of musicianship as used in music education. A balanced and holistic approach is sought, especially in light of the interdisciplinary nature of the challenge being addressed. Drawing on Hjørland's work on domain analysis, and Hennion's concept of the user of music, this paper discusses music as a domain, music as information, and music as knowledge.FindingsIn particular, the concept of listening and genre are considered important ways through which one mediates one's understanding of music as knowledge. There are four “layers” in the model: Vocabulary of Music; Structures and Patterns of Music; Appreciation of Music; and Cultural‐Historical Contexts.Originality/valueThe model addresses knowledge organization challenges specific to the domain of music.
Margaret Lam investigates challenges related to the transmission, preservation and organization of music knowledge. She works independently as a researcher, writer and designer as well as a collaborator on various projects. You can learn more about her work at www.margism.com. M usic -beyond the scores, recordings and signal analysis that occupies information scientists and music librarians -has the amazing ability to bring human history to life. The ethos of a time and place is inevitably reflected by the humanities, and music is no exception. We know this effect through our own personal experiences: the way couples have their song, the way music takes you back to a time in a different place, the soundtrack of car radios, movies and television shows that accompany us through various life stages. For many music scholars the socio-cultural aspect of music is an important part of their research. However, current conceptualization of music research within digital humanities does not fully address the socio-cultural element in music research. Efforts within the digital humanities are focused primarily on music as either information or artifact. While the elements of music such as pitch and rhythm are common to all music researchers to various degrees, it is not fully representative of the diverse approaches that music research can take [1]. Conceptualization of what constitutes music within digital humanities is necessarily narrow as we experiment with different applications of technologies to support music research. Yet, as I will suggest in this short piece, a broader conceptualization of music is necessary for digital humanities research in the domain of music to have real impact on music scholarship. Music as Information, Music as KnowledgeWhen we conceptualize music as information, we are referring to elements of music such as pitches, chords, tempo and dynamics on one level, and contextual information such as genres, performers, dates and instrumentation on another. The development of specialized markup languages for music (see www.recodare.com/musicxml) and the largest hub for music information EDITOR'S SUMMARY Among the humanities, music is especially powerful for reflecting time and place and evoking personal experiences and memories. Yet music research in the digital humanities has attended little to socio-cultural context, tradition, history and performance knowledge, instead focusing on the musical score and technical elements. To have an impact on music scholarship, digital research in the music domain must be considered more broadly. An example is the work of Alexander Chan, whose cutting edge music research may be appreciated as interactive installations but gets little recognition within digital humanities. Music research has fallen short in its use of digital technology to understand theory, composition, musicology and the preservation and transmission of music knowledge. Despite music's evocative power, its conceptual scope in digital research is narrow.
INTRODUCTION:IoT will transform our future in unimaginable ways. The necessity for young people to understand and design with IoT seems unequivocal but there is currently limited integration in K-12 education. OBJECTIVES: To investigate these gaps in research and practice, this study aimed to explore the design processes and understandings of IoT that emerge when youth design an IoT passion project within a constructionist context. METHODS:A mixed methods multiple case study design was employed, analyzing questionnaires, interviews, recordings, and participant artifacts. RESULTS: Factors contributing to a successful design included guided inquiry, detailed plans, access to support, and perseverance. Participants also experienced gains in IoT skills and knowledge. CONCLUSION: Design and making with IoT through passion-based, guided inquiry appeared to facilitate the development of valuable knowledge and skills. Further research is needed to explore implementations in formal education.
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