The Oxford Handbook of Technology and Music Education
Edited by Alex Ruthmann and Edited by Roger Mantie
Table of Contents
Foreword - Peter Webster and David B. Williams
Introduction - Roger Mantie and Alex Ruthmann
SECTION 1: EMERGENCE AND EVOLUTION
What constitutes a technology in music and music education?
In what ways as technology been used, and how has technology affected music education in different times and places?
Core Perspectives 1A
1. Thinking about Music and Technology
2. Technology in Music and Music Education in England
and Across Europe
Further Perspectives 1A
3. Savoring the Artistic Experience in an Age of Commodification
Chee Hoo Lum
4. Music Technology in Ethnomusicology
5. The Role of "Place" and Context
6. Slow Music
7. Then and Now
David A. Williams
How have music educators negotiated the role of technology within the broader terrain of educational policy and practice?
What is the role and what are the effects of commerce and industry on learning, teaching, and technology within schools?
Core Perspectives 1B
8. Globalization and Technology in 21st Century Education
9. Technology in the Music Classroom in Greece
Further Perspectives 1B
10. Building a Broad view of Technology in Music Teacher Education
11. Technology in the Music Classroom in Kenya
12. Pondering an End to Technology in Music Education
13. A Software Creator's Perspective
14. Where Might We Be Going?
15. Loaded Questions for an Emerging World
16. Music Learning in Music Education
SECTION 2: LOCATIONS AND CONTEXTS: SOCIAL AND CULTURAL ISSUES
What are the impacts of technology (positive and negative) on different communities, socio-economic areas, and parts of the World?
What can be done to mitigate the negative effects of technology while accentuating the positive?
Core Perspectives 2A
17. Critical Perspectives from Africa
18. Interest-driven Music Education
19. Situating Technology Within and Without Music Education
Further Perspectives 2A
20. Human Potential, Technology and Music Education
21. "Placing" Technology within Music Education Communities
22. The Promise and Pitfalls of the Digital Studio
23. Musicking and Technology in Sweden
24. Exploring Intersections of Technology and Music Education
How are technology and music technology changing use? How are we changing technology?
How are music educators responding to social, cultural, and economic issues? How should they?
Core Perspectives 2B
25. Pedagogical Fundamentalism to Radical Pedagogy in Music Education
26. Society, Schools, and Music Learning
27. Locating Technology within Music Education
Further Perspectives 2B
28. Technology in Perspective: Who is in Control?
29. The Curious Musician
30. On Becoming Musical: Technology, Possibilities and Transformation
31. The Role of Music in Public Health Education
32. Thinking and Talking about Change in Music Education
33. A Sociological Perspective on Technology in Music Education
SECTION 3: EXPERIENCING, EXPRESSING, LEARNING, AND TEACHING
What are the ramifications of technological change on music teaching and learning in the classroom? What can technology do for music education?
In what ways has technology forced us to re-evaluate definitions of musicality? Of musicianship? Of who is and is not a musician?
In what ways has technology transformed our understandings of creativity? What are some of the untapped potentials in this area?
Core Perspectives 3A
34. Power and Choice in the Teaching and Learning of Music
35. Music Fluency for Music Creation and Composition
36. Playing (in) the Digital Studio
Further Perspectives 3A
37. Considering Music Technology and Literacy
38. Technology and Collaboration for People with Significant Disabilities
39. Prosumer Learners and Digital Arts Pedagogy
40. A Pluralist Approach to Music Education
41. Augmenting Music Teaching and Learning with Technology and Digital Media
42. Possibilities for Inclusion with Music Technologies
What are examples of effective uses of technology? Under what conditions might technology be inappropriate or ineffectice?
What are familiar challenges to implementation and what strategies have thus far proven effective?
Are there limits to what technology affords?
Core Perspectives 3B
43. Limitations of Technology in Community Music
44. Meaningful and Relevant Technology Integration
45. The Convergence of Networked Technologies in Music
Teaching and Learning.
Further Perspectives 3B
46. Narcissim, Romanticism, and Technology
47. Pedagogical Decision Making
48. Equity and Access in Out-of-School Music Making
49. Technology, Sound, and the Tuning of Place
SECTION 4: COMPETENCE, CREDENTIALING, AND PROFESSIONAL DEVELOPMENT
Should music technology be taught as an independent subject, or should it serve existing curriculum and instruction? How might technology best serve the needs of students and teachers?
How can music educators develop and maintain skills beyond their teacher education programs?
What sorts of canonized practices have emerged, and how might these impact on music teacher education?
Core Perspectives 4A
50. Traditions and Ways Forward in the United States
51. Technology and Invisibility in Music Teacher Education
52. Authentic Approaches to Music Education with Technology
Further Perspectives 4A
53. Technology in Music Initial Teacher Education
54. Using Mobile Technologies and Problem-Seeking Pedagogies to Bridge Universities and Workplaces
55. Applications of Technology in Music Education from Selected Countries
56. Defining and Acknowledging Music Education Technology in Music Teacher Training
57. Learner Engagement and Technology Integration
What are the ramifications of technology and technological change on music teacher education programs?
What tensions exist in terms of credentialing and accreditation? Whose responsibility is it for professional development and certification?
Core Perspectives 4B
58. Faculty Development in and through the Use of ICT
59. Educators' Roles and Professional Development
60. Music Technology Pedagogy and Curricula
David A. Williams
Further Perspectives 4B
61. Why Isn't Music Education in the US more 21st Century PC?
62. Generating Intersections between Music and Technology
63. Preparing for Change and Uncertainty