Another Perspective: The iPad Is a REAL Musical Instrument
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| Title: | Another Perspective: The iPad Is a REAL Musical Instrument |
|---|---|
| Language: | English |
| Authors: | Williams, David A. |
| Source: | Music Educators Journal. Sep 2014 101(1):93-98. |
| Availability: | SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: http://sagepub.com |
| Peer Reviewed: | Y |
| Page Count: | 6 |
| Publication Date: | 2014 |
| Document Type: | Journal Articles Reports - Descriptive |
| Education Level: | Elementary Secondary Education |
| Descriptors: | Musical Instruments, Handheld Devices, Theater Arts, Music Activities, Music Techniques, Technology Uses in Education, Technology Integration, Musical Composition, Personal Autonomy, Group Activities, Audiolingual Skills, Innovation, Elementary Secondary Education |
| DOI: | 10.1177/0027432114540476 |
| ISSN: | 0027-4321 |
| Abstract: | This article looks at the iPad's role as a musical instrument through the lens of a live performance ensemble that performs primarily on iPads. It also offers an overview of a pedagogical model used by this ensemble, which emphasizes musician autonomy in small groups, where music is learned primarily through aural means and concerts are interactive shows. Such a model could also be well suited to those using any type of instruments and would have significant potential to attract students who do not currently take part in our traditional school ensembles. |
| Abstractor: | As Provided |
| Entry Date: | 2014 |
| Accession Number: | EJ1037957 |
| Database: | ERIC |
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| FullText | Text: Availability: 1 Value: <anid>AN0099326273;mue01sep.14;2014Nov10.16:40;v2.2.500</anid> <title id="AN0099326273-1">Another Perspective: The iPad Is a REAL Musical Instrument </title> <p>MEJspmejMusic Educators Journal0027-43211945-0087SAGE PublicationsSage CA: Los Angeles, CA10.1177/002743211454047610.1177_0027432114540476 FeaturesAnother PerspectiveThe iPad Is a REAL Musical InstrumentWilliamsDavid A.David A. Williams is an associate professor at the University of South Florida in Tampa, where he teaches a variety of undergraduate and graduate music education courses. He can be contacted at davidw@usf.edu.9201410119398© 2014 National Association for Music Education2014MENC: The National Association for Music EducationThis article looks at the iPad's role as a musical instrument through the lens of a live performance ensemble that performs primarily on iPads. It also offers an overview of a pedagogical model used by this ensemble, which emphasizes musician autonomy in small groups, where music is learned primarily through aural means and concerts are interactive shows. Such a model could also be well suited to those using any type of instruments and would have significant potential to attract students who do not currently take part in our traditional school ensembles.alternative ensemblechambercurriculumiPadmusical autonomynontraditional ensemblepedagogyrecruitmentteacher educationtechnologyAlthough some might balk at considering the iPad a real musical instrument, the reality is that it offers myriad possibilities for ensemble playing and music learning.Recent music education journal articles describe the use of iPads, and other digital technologies, in music class settings. Deborah Nelson examined iPads as a way to help reach students with special needs.1 Patricia Riley described iPad use by preservice music practicum students.2 Vanessa L. Bond suggested that iPads could be a part of a social constructivism approach in music classrooms,3 and Chad Criswell documented potential effects the iPad and other hardware could have on music education and shares teachers' ideas for using iPads for creativity and performance.4 In addition, there is a plethora of articles and resources describing various ways iPads are being used in music business.5 The iPad, along with other digital technologies, certainly offers new potential to music teachers.As part of the music program where I teach, we have an iPad ensemble. The performers in this ensemble, myself included, make music using iPads as instruments. We are iPadists. We play music from a diverse range of styles, including arrangements of classical music, covers of rock songs, and original music written specifically for the unique musical capabilities of the iPad. We also model a pedagogical technique that is very different from the traditional band/choir/orchestra paradigm.There are individuals who condemn this activity or, at the very least, consider it less deserving than our traditional music-making activities. It is not unusual for some people, especially from traditional performance areas, to make disparaging remarks about the activity. Often, comments involve the perceived inadequacies of the iPad, any relationship it might have with popular musics, and a general mistrust of anything related to digital or electronic music technology. Much of this condemnation, by the way, comes from individuals who have never seen nor heard our iPad ensemble.This attitude is not restricted to college performance faculty. A survey comment from an anonymous music teacher about a recent state music conference echoes this position: "Each year it seems there are more sessions and performances that do not align with what our core mission is as music educators. iPad ensembles and rock bands are not the direction that we should be heading. We need to be seeking out students and exposing them to quality art." In the same survey, another teacher added, "I would like to see more clinics about band, chorus, and orchestra, and less about music technology, guitar, etc. Those things should not be taught in schools because there is not artistic merit."6Of course, there are those who do not share these sentiments and remain open to new possibilities; however, making music on iPads is certainly not considered by some to be as honorable as making music in concert bands or string orchestras. This thinking is often based on the belief that the iPad is not a real musical instrument. At best, it is only like a musical instrument, but certainly not worthy of study by serious musicians.On the other hand, the oboe is most surely a genuine musical instrument. Along with the violin, trumpet, and clarinet, the oboe is the real thing and, unlike the iPad, is capable of producing profound music. However, there is a serious error in reasoning here, especially for music educators, and it holds critical consequences well beyond the use of iPads to make music.What is a musical instrument? A musical instrument, according to the Free Merriam-Webster Dictionary, is "a device used to produce music."7 When used to produce musical sounds, what does an oboe and an iPad have in common? There are at least six attributes shared by both the iPad and the oboe, as well as by all musical instruments:In the hands of the right person, an oboe can be played beautifully. In the hands of the right person, an iPad can be played beautifully. Both can be used to showcase magnificent musicality.In the hands of the wrong person, an oboe can be played very badly (chances are you have experienced this). In the hands of the wrong person, an iPad can be played very badly. Both can be used to produce sounds wanting in musicality.A person most likely needs to practice to play an oboe well--sometimes for an agonizingly long time. A person most likely needs to practice to play an iPad well--sometimes for an agonizingly long time. Practice is important for improving musical performance on any musical instrument.It is necessary for a person to build technique in order to get better at playing an oboe. It is necessary for a person to build technique in order to get better at playing an iPad. Improving technical proficiency most often helps a performer develop musicianship.There are limitations on what a person can perform on an oboe. There are limitations on what a person can perform on an iPad. Both can be used in certain musical circumstances with great success, but not so much in others.An oboe will do nothing if a person does not touch it. An iPad will do nothing if a person does not touch it. Neither device will produce sound without help. Both are inanimate objects.Did you notice there is one commonality across all six attributes? It is the human being--the person. This is, after all, from where musicianship, creativity, and imagination originate. The most important aspect of human music-making is not the instrument--it is the human! The instrument is little more than a tool through which a person can produce music. The oboe, after all, is a piece of hollowed wood with holes drilled in it. The iPad is basically aluminum, circuits, and glass. Neither is really very mystical. The magic is supplied by the performer.All six of these statements are true for any musical instrument a person chooses to use. My list of instruments would include such things as a tuba, triangle, clarinet, voice (with some obvious distinctions), cello, computer, koto, microphone, spoons, snare drum, lute, turntable, and Orff xylophone. There are plenty more. In any given setting, a certain instrument, an oboe perhaps, might be an appropriate choice. This does not mean the oboe is a better instrument--it is only more fitting for a specific use. In a different setting another instrument, an iPad, for example, might serve the purpose better.Our mistake in traditional music education is that we elevate the importance and worthiness of certain instruments. This is a mistake because it tends to marginalize other instruments and, by default, the musical styles with which they are usually associated--not to mention the humans who participate with, and gain meaning from, such musics.The instruments we have traditionally held in highest regard are the instruments (including the voice used in a particular manner) that come from the western European classical tradition. These are, of course, the instruments most closely associated with the musics we use in the classroom. The music education profession has a long history of dismissing other instruments and musical styles as unworthy.The 1930s witnessed the way jazz and dance music changed the American musical landscape, but it was almost forty years before these styles found any widespread acceptance in school music programs (ironically, about the same time they were dropping out of public favor). The electric guitar, along with rock-and-roll, rose to popularity by the mid-1960s, but we have not been very interested in bringing these into the school music room until only recently. Electronics expanded musical possibilities in the 1980s, but not for music education, and now digital music has changed how music is made, performed, and heard; but again, our profession wants to look the other way.We have successfully closed ourselves off from virtually all aspects of musical culture in today's society, choosing instead to continue championing musical instruments and styles that are now all but absent outside the classroom--especially in youth culture. We continue to believe there is only a short list of real musical instruments and of high-quality musical styles. We have convinced ourselves that it is our job, our duty, to keep these instruments and musical styles alive so school students can find musical salvation.Is it any wonder we have trouble interesting the majority of school students in enrolling for school music programs when we offer basically one type of musical experience and we continue to marginalize the various musical involvements these students find most meaningful? We implicitly, and often explicitly, communicate to students, "Come out of your mire of unmusical clutter, and I will help you understand real music!" One might imagine Emma Lazarus could have been thinking of a music teacher alone in a school music rehearsal room when she wrote,Give me your tired, your poor,Your huddled masses yearning to breathe free,The wretched refuse of your teeming shore,Send these, the homeless, tempest-tost to me,I lift my lamp beside the golden door!8Back to our iPad ensemble: It is actually a quintet--an ensemble that in more cultured musical circles would be considered a "chamber ensemble." In reality, it is something of a hybrid, being part string quintet, part rock band, part electronic ensemble, and part something else. The possibilities for this type of digital ensemble seem unlimited and are restricted only by our own imaginations. It could become almost anything the players can imagine, and even though the group is only a couple of years old, we have imagined quite a lot.As with any musical ensemble, there are challenges and limitations regarding iPad performance. The most problematic issue we have faced involves timekeeping. There is so little movement required to make sound on an iPad that it can be difficult to achieve rhythmic cohesion, especially during performance of music that lacks a definite beat. We have come to appreciate the kinesthetic motions normally associated with violin performance that help performers visualize rhythm and beat. To compensate, we have learned to exaggerate movements when possible, and we resort to standing close together when necessary for visual connections.We also recognize limitations of the instrument. Every app we use does something very well but will be limited in some way. We have found it important to remain within the capabilities of specific apps and to choose apps that are appropriate for what we are trying to realize musically. The good news is apps are consistently being updated and improved, and new apps appear regularly so that new possibilities are added all the time. In the short period in which our iPad ensemble has been together, we have witnessed an amazing improvement in the functionality and the sound of various apps, and there is nothing to suggest that this trend will not continue.Our iPad ensemble, which is named Touch, has a few goals that guide most of its activities. The first is musical performance. Above all else, we strive to play musically, understanding this may mean different things depending on the style of music being performed. For example, balance means something quite different during the performance of a classical string quintet versus a rap piece, just as rhythmic concepts differ between jazz and classical genres. Our ensemble members spend considerable time individually working and practicing with different apps to hone playing technique in order to achieve the most musically correct sound. When playing together, the ensemble members are busy listening with musical "ears" in search of the most musical results. This is nothing different than what would be considered necessary in any good musical ensemble, but that is just the point--there is no difference as far as musicality is concerned.Second, the members of Touch work very hard to incorporate various collaborations in performances. To date, we have worked with vocalists, rappers, dancers, poets, actors, and visual artists. Future plans have the ensemble collaborating with engineers and architects in realizing new musical works. Most collaborations require us to compose original music for a specific setting. One interesting collaboration involved four poets who each shared one poem with the audience. The musicians worked with each poem to realize the text in sound. We also paired dancers with each poet. The dancers, sometimes alone, sometimes in small groups, realized the text in motion. The performance combined live reading with music and choreographed and improvised dance, as well as the incorporation of video and lighting effects, which created a very moving experience for both the performers and the audience.Other collaborations have involved the resetting of a children's book with live reading, acting, and dancing. As with the poetry, here the iPad performers realized the story text in sound, serving both as accompaniment for the other performers and as a kind of tone poem representation of the story. Another piece had us working with a visual artist in a timed piece where she created a painting of the ensemble as the iPadists performed music directed by her choice of colors. The piece was composed by a student composer and required the artist to use five colors. Each iPadist responded with sounds of his or her choice when the color assigned to him or her was used. This resulted in a loosely structured piece that slowly developed into a blues jam and a completed painting in just seven minutes.I am often asked what apps our performers use in performance, and while we each certainly have our favorites, the list of live performance apps is long and constantly growing. There are hundreds of possibilities, and during one particular book reading, the five performers used eighteen different apps, each allowing the exploration of different tone colors to precisely match the musical effects envisioned.The third goal has to do with audience participation. During performances, members of Touch work to break down "the fourth wall" that traditionally separates the audience from the performers. In addition to being moved musically, we want very much for the audience to have a good time and feel that they are a real part of a live concert. This begins simply by interacting with an audience by talking to them and making them feel welcome. We also get the audience on their feet, clapping, singing, and moving. The audience is encouraged to use video and flash photography and asked to upload media during the concert. It is also okay to talk with your neighbor during Touch concerts.Opportunities are planned that create direct audience involvement in concerts. During one medley of dance pieces, the audience was encouraged to dance along with the dancers on stage. Another piece included opportunities for the audience members to perform on their own personal digital devices from their seats. We have had the audience singing specific pitches directed by a band member on stage. In another piece, we retold a well-known story along with actors, sets, and props. This retelling was directed by the audience, who sent tweets to a live Twitter feed that was projected on a huge screen on stage. The actors picked audience suggestions to act out while our ensemble performed our own arrangements of music, as well as improvised music, to fit the action.We have a quintet of musicians who perform live using iPads as their primary instruments, but you would be missing the whole point if you got the idea that the iPads are the focus. The real importance of our ensemble extends far beyond iPads. The iPad, after all, is nothing more than a digital music instrument from a long line of electronic and digital instruments. It is even quite likely the iPad will no longer exist in the near future, being replaced by something even better. Touch certainly takes advantage of the portability of the iPad and the diverse range of sounds we have at our disposal, but much of what the ensemble does could be accomplished with various combinations of digital and acoustic instruments. Most any combination of instruments, including diverse integrations of wind, string, and percussion instruments and voices, could be used in much the same way.The focus of what Touch does as an ensemble is not the iPad; instead, the emphasis is on the pedagogical model used. Several researchers and authors have examined the traditional large- ensemble pedagogy in comparison with other pedagogical approaches.9 Touch actually serves as an example for our music education majors as a method of pedagogy that is significantly different from the traditional large-ensemble model. It is a pedagogy that could be accomplished with most any combination of instruments (including the voice), and it is one example (from among many) of what music education could look like in schools. The model is one that shares much in common with how individuals make music in popular music settings outside of schools.10 It is a cooperative, interactive, and democratic process of music-making and differs from the traditional school model in four important ways:Musician autonomy: Our iPad ensemble basically performs two types of compositions--covers of existing pieces and original pieces we create. Our original music is almost always composed by the group together. One musician will suggest an idea for a piece, and then we will go through a group creative process where each individual feels welcome to make musical suggestions. This is really an amazing process that can take a piece of music through a variety of adaptations. The process is not normally fast, and it is not always clean. Sometimes a song idea will change so much that we will not remember where it started, but the process is always interactive, and each musician has autonomy to make musical choices to add to the common goal of the ensemble. Autonomy in this setting extends to the musical styles performed, the instrument sounds selected, and the creative decisions made in shaping a piece of music. This is a very different setting than in a traditional concert band, orchestra, or chorus, where (<reflink idref="bib1" id="ref1">1</reflink>) the teacher/director makes most of, if not all, the decisions regarding repertoire, musicality, and creativity, and (<reflink idref="bib2" id="ref2">2</reflink>) students normally concentrate on only one instrument. An alternative music education model might provide students control over musical styles, creative decision making, and instrument choice. This might occur in a class where the end product is not a performance of preselected standard pieces but, rather, a performance of student-selected and/or originally created pieces that fulfill broad guidelines and requirements set forth by the teacher. For example, an assignment might ask students to select one or more "classical" music pieces and to arrange them in a new performance piece. To realize the assignment, one group of students might take the theme from Beethoven's "Fur Elise," add lyrics, and work it into an electronic dubstep piece performed on various digital instruments, while another group of students takes a little more traditional approach, with themes from Haydn's Symphony No. 94 but performs its own arrangement on guitars.Ensemble size: Our iPad ensemble is a quintet. Having five members works well. We could also do what we do as a trio or quartet. We could probably add another performer or two as well, but much beyond that, things would change. Maintaining the democratic and interactive process we employ would become difficult. It would no longer be easy for each individual to have significant input into the creative process, and we would probably begin to lose a critical aspect of our musical identity. There is a reason most traditional school ensembles do not allow students serious opportunities for creative input--there are simply too many students to allow each individual to be, well, individual. An alternative music education model might divide a class of forty students into eight or nine smaller ensembles. It could be possible for individual students to remain in one group for an entire semester, but it would also be feasible for students to move from group to group as needs arise. In small groups, students could be given significant opportunities to make creative decisions to guide how they solve musical problems, presented by their teacher, as they both sing and play instruments.Aural/oral process: Our iPad ensemble primarily learns music through an aural process by ear. Covers are learned by virtue of listening to recordings, and original pieces are developed through a cooperative aural and oral process, with individuals making suggestions and responding to the suggestions of others. Both are highly interactive experiences, and everyone takes part in a democratic system. All the members of our iPad ensemble have classical backgrounds and can read standard notation; however, in our model of music-making, we find the aural process to be much more authentic and productive. Being bound to notation would limit the musical possibilities from which we could explore. Traditional school ensembles, of course, tend to be tied to notation, which is related closely to the first two issues--ensemble size and lack of individual autonomy. Together, these almost necessitate the use of notation. An alternative music education model might emphasis aural transmission over written notation. Such a process would open up worlds of musical possibilities for students who would no longer be tied to only the music they could find in a notated form. Helping students become better aural musicians could be the single most important step in helping develop lifelong musical skills.Concerts: Our iPad ensemble's concerts are more like shows or productions than classically oriented concerts. Vocalists are employed on several pieces. A wide range of musical styles are used at each concert, including classical, rap, heavy metal, African drumming, electronic, disco, classic rock, blues, and gospel. There is usually as much to see as there is to hear. Lighting effects change from piece to piece. Staging is flexible and adjustable. Haze machines ensure that lights are particularly effective. Multiple video screens display constantly changing projections. Depending on the piece being performed, the music made by the ensemble is not always the only focus. On some pieces, dancers use movement, staging, and lighting to convey motion and interest, and other pieces include actors playing out roles with action and dialogue, all connected to the music being performed. The audience is made to feel welcome and a part of the show. They are allowed to socialize. The crowd is urged to sing along with songs, clap, move, and dance. As mentioned previously, the audience is often given an active role as part of specific pieces where they contribute musically and help guide the direction of the concert. Traditional school concerts tend to be much more formal, where the sonic proprieties of the music are given the highest priority and the audience's role is to sit quietly and listen. This type of audience behavior is foreign to most people associated with popular culture, and many find it difficult to conform to the limitations imposed in classically oriented concerts. It is considered a serious enough problem that the National Association for Music Education (NAfME) dedicates a section of its website to concert etiquette and includes resources that teachers can use to educate their audiences.11 An alternative music education model might allow for a wider range of musical productions that emphasize more than the sonic properties of music and allow audience members to be an integral part of the event.This model, which emphasizes musician autonomy in small groups, where music is learned primarily through aural means and concerts are interactive shows, works well for our iPad-based ensemble. But this model could also be well suited for students using any type of instruments, and it would have significant potential to attract students that presently do not take part in traditional school music ensembles. It is important to note that similar pedagogical models have been employed in schools of the United Kingdom, Scandinavia, and Australasia for several years. Many of these have had a positive impact on student participation and retention, student attitudes, self-esteem, on-task behavior, and the development of a greater range of musical skills and higher levels of musical understanding.12When used to make music, the iPad is a musical instrument. It can be performed well or poorly. It takes practice to build performance technique on it. It will do nothing without musicianship, creativity, and imagination supplied by a person. It has musical limitations just like any instrument, but in the right circumstances, it can be used to make amazing music. Even so, the music education profession, as a whole, ignores the iPad as well as a host of other digital musical instruments that are now widespread in our culture. We have a long history of ignoring. We turned a deaf ear to jazz for fifty years. We did not notice the guitar until very recently. We still debate the evils of rock music, not to mention rap. And now we are choosing to tune out digital music and digital musical instruments. Just as important, we are also happy to spurn pedagogical approaches that might be ideally suited for alternatives to the traditional band, choir, or orchestra classes.As part of the music program where I teach, we have an iPad ensemble. The performers in this ensemble make music using iPads as instruments. They are iPadists. They also model a pedagogical technique that is very different from the traditional band/choir/orchestra paradigm. There are individuals who condemn this activity or, at the very least, consider it less deserving than our traditional music-making activities. This seems to be a widely held notion. However, I have seen the powerful effects that this type of music-making, combined with relevant pedagogies, has on students--especially students who are not interested in band, choir, or orchestra. Yet we ignore this phenomenon. Our profession does too much ignoring, and we continue to do it at our own peril.Watch a Clip of a Performanceby USF's Touch iPad Ensemblehttps://<ulink href="http://www.youtube.com/watch?v=qzfzwLMJ1RQSee">www.youtube.com/watch?v=qzfzwLMJ1RQSee</ulink> a Segment by Touch from a TEDx Eventhttps://<ulink href="http://www.youtube.com/watch?v=wYoEAjt27yc1.Deborah">www.youtube.com/watch?v=wYoEAjt27yc1.Deborah</ulink> Nelson, "Professional Notes: Reaching All Students via Technology," Music Educators Journal 100, no. 1 (September 2013): 26-29.2.Patricia Riley, "Teaching, Learning, and Living with iPads," Music Educators Journal 100, no. 1 (September 2013): 81-86.3.Vanessa L. Bond, "Follow and Facilitate: What Music Educators Can Learn from the Reggio Emilia Approach," General Music Today 27, no. 1 (2013): 24-28.4.Chad Criswell, "Technology on the Horizon," Teaching Music 18, no. 5 (2011): 30-35; and Chad Criswell, "Yes, There Really Is an App for That," Teaching Music 20, no. 2 (2012): 22-23.5.Jason Scott Alexander, "Producing with the iPad: Four Pros Speak Candidly about the Dawn of 'Tablet Music' [Master class]," Electronic Musician 27, no. 5 (2011): 66-71; Jeff Benjamin, "23 iPads and Making Music," Billboard 124, no. 2 (2012): 17; Antony Bruno, "iPad albums?" Billboard 123, no. 13 (2011): 8; Antony Bruno, "Teachers' Pets: The iPad, Along with Apps Like the Forthcoming Miso Music, Are Slowly Transforming the Way Music Has Been Taught for Centuries," Billboard 123, no. 11 (2011): 27; Zack O'Malley Greenburg, "How Sean Paul's iPad Helped Him Make His New Album," Forbes.com (2012): 29; Ben Harvell, Make Music with Your iPad [electronic resource] (Hoboken, NJ: Wiley, 2011); and Geary Yelton, "Turn Your iPad into a Synth Workstation: Link Your iOS Music Apps Together with Audiobus," Electronic Musician 9 (2013): 70.6.Anonymous reviews are solicited from music teachers attending the annual Florida Music Educators Association Professional Development Conference.7.See the Free Merriam-Webster Dictionary at <ulink href="http://www.merriam-webster.com/dictionary/instrument.8.Emma">http://www.merriam-webster.com/dictionary/instrument.8.Emma</ulink> Lazarus's poem "The New Colossus" is engraved on a bronze plaque mounted inside the lower level of the pedestal on which the Statue of Liberty stands.9.Randall Everett Allsup and Cathy Benedict, "The Problems of Band: An Inquiry into the Future of Instrumental Music Education," Philosophy of Music Education Review 16, no. 2 (2008): 156-73; Lucy Green, Music, Informal Learning and the School: A New Classroom Pedagogy (Surrey, UK: Ashgate, 2008); Marie McCarthy, "Re-thinking 'Music' in the Context of Education," in Music Education for Changing Times: Guiding Visions for Practice, ed. T. A. Regelski and J. T. Gates, Landscapes: The Arts, Aesthetics, and Education, vol. 7 (New York: Springer, 2009), 29-38; Roger Johnson, "Critically Reflective Musicianship," in Regelski and Gates, Music Education for Changing Times, 17-28; Libby Larsen, "The Role of the Musician in the 21st Century: Rethinking the Core," 1997 plenary address to the National Association of Schools of Music National Convention, <ulink href="http://libbylarsen.com/as%5fthe-role-of-the-musician;">http://libbylarsen.com/as%5fthe-role-of-the-musician;</ulink> Patricia O'Toole, "Field Report on Music in the Schools," Orbit 31, no. 20 (2000): 34-36; Jennifer Buller Peters, "They Are Not a Blank Score," in Questioning the Music Education Paradigm, Research to Practice, a Biennial Series, vol. 2, ed. L. Bartel, (Toronto: Canadian Music Educators Association, 2004); David Price, Supporting Young Musicians and Coordinating Musical Pathways (London: Paul Hamlyn Foundation, 2006); Thomas A. Regelski, "Amateuring in Music and Its Rivals," Action, Criticism, and Theory for Music Education 6, no. 3 (2007), <ulink href="http://act.maydaygroup.org/articles/Regelski6%5f3.pdf;">http://act.maydaygroup.org/articles/Regelski6%5f3.pdf;</ulink> Thomas A. Regelski, "An End Is a Beginning," in Regelski and Gates, Music Education for Changing Times, 187-98; Paul Woodford, "Music Education, Culture and Democracy: Sociality and Individuality," Canadian Music Educator 39, no. 1 (1997): 15-18; and Ruth Wright and Panagiotis Kanellopoulos, "Informal Music Learning, Improvisation and Teacher Education," British Journal of Music Education 27, special issue 1 (2010): 71-87.10.For an excellent view into the music-making of popular musicians, see Lucy Green's How Popular Musicians Learn: A Way Ahead for Music Education (London: Ashgate Press, 2002).11.NAfME's concert etiquette resources can be found at <ulink href="http://musiced.nafme.org/resources/concert-etiquette-home/.12.Charles">http://musiced.nafme.org/resources/concert-etiquette-home/.12.Charles</ulink> Byrne and Mark Sheridan, "The Long and Winding Road: The Story of Rock Music in Scottish Schools," International Journal of Music Education 36, no. 1 (2000): 46-58; John Finney and Chris Philpott, "Informal Learning and Meta-pedagogy in Initial Teacher Education in England," British Journal of Music Education 27, special issue 1 (2010): 7-19; G&amp;öran Folkestad, "Formal and Informal Learning Situations or Practices versus Formal and Informal Ways of Hearing," British Journal of Music Education 23, no. 2 (2006): 135-45; Eva Georgii-Hemming and Maria Westvall, "Music Education: A Personal Matter? Examining the Current Discourses of Music Education in Sweden," British Journal of Music Education, 27, special issue 1 (2010): 21-33; Sue Hallam, "Survey of Musical Futures" (report from the Institute of Education, University of London, for the Paul Hamlyn Foundation, 2005); Sidsel Karlsen, "BoomTown Music Education and the Need for Authenticity: Informal Learning Put into Practice in Swedish Post-compulsory Music Education," British Journal of Music Education 27, special issue 1 (2010): 35-46; and Wright and Kanellopoulos, "Informal Music Learning."</p> <aug> <p>By David A. Williams</p> </aug> <nolink nlid="nl1" bibid="bib1" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib2" firstref="ref2"></nolink> |
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| Items | – Name: Title Label: Title Group: Ti Data: Another Perspective: The iPad Is a REAL Musical Instrument – Name: Language Label: Language Group: Lang Data: English – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Williams%2C+David+A%2E%22">Williams, David A.</searchLink> – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="SO" term="%22Music+Educators+Journal%22"><i>Music Educators Journal</i></searchLink>. Sep 2014 101(1):93-98. – Name: Avail Label: Availability Group: Avail Data: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: http://sagepub.com – Name: PeerReviewed Label: Peer Reviewed Group: SrcInfo Data: Y – Name: Pages Label: Page Count Group: Src Data: 6 – Name: DatePubCY Label: Publication Date Group: Date Data: 2014 – Name: TypeDocument Label: Document Type Group: TypDoc Data: Journal Articles<br />Reports - Descriptive – Name: Audience Label: Education Level Group: Audnce Data: <searchLink fieldCode="EL" term="%22Elementary+Secondary+Education%22">Elementary Secondary Education</searchLink> – Name: Subject Label: Descriptors Group: Su Data: <searchLink fieldCode="DE" term="%22Musical+Instruments%22">Musical Instruments</searchLink><br /><searchLink fieldCode="DE" term="%22Handheld+Devices%22">Handheld Devices</searchLink><br /><searchLink fieldCode="DE" term="%22Theater+Arts%22">Theater Arts</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Activities%22">Music Activities</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Techniques%22">Music Techniques</searchLink><br /><searchLink fieldCode="DE" term="%22Technology+Uses+in+Education%22">Technology Uses in Education</searchLink><br /><searchLink fieldCode="DE" term="%22Technology+Integration%22">Technology Integration</searchLink><br /><searchLink fieldCode="DE" term="%22Musical+Composition%22">Musical Composition</searchLink><br /><searchLink fieldCode="DE" term="%22Personal+Autonomy%22">Personal Autonomy</searchLink><br /><searchLink fieldCode="DE" term="%22Group+Activities%22">Group Activities</searchLink><br /><searchLink fieldCode="DE" term="%22Audiolingual+Skills%22">Audiolingual Skills</searchLink><br /><searchLink fieldCode="DE" term="%22Innovation%22">Innovation</searchLink><br /><searchLink fieldCode="DE" term="%22Elementary+Secondary+Education%22">Elementary Secondary Education</searchLink> – Name: DOI Label: DOI Group: ID Data: 10.1177/0027432114540476 – Name: ISSN Label: ISSN Group: ISSN Data: 0027-4321 – Name: Abstract Label: Abstract Group: Ab Data: This article looks at the iPad's role as a musical instrument through the lens of a live performance ensemble that performs primarily on iPads. It also offers an overview of a pedagogical model used by this ensemble, which emphasizes musician autonomy in small groups, where music is learned primarily through aural means and concerts are interactive shows. Such a model could also be well suited to those using any type of instruments and would have significant potential to attract students who do not currently take part in our traditional school ensembles. – Name: AbstractInfo Label: Abstractor Group: Ab Data: As Provided – Name: DateEntry Label: Entry Date Group: Date Data: 2014 – Name: AN Label: Accession Number Group: ID Data: EJ1037957 |
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| RecordInfo | BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.1177/0027432114540476 Languages: – Text: English PhysicalDescription: Pagination: PageCount: 6 StartPage: 93 Subjects: – SubjectFull: Musical Instruments Type: general – SubjectFull: Handheld Devices Type: general – SubjectFull: Theater Arts Type: general – SubjectFull: Music Activities Type: general – SubjectFull: Music Techniques Type: general – SubjectFull: Technology Uses in Education Type: general – SubjectFull: Technology Integration Type: general – SubjectFull: Musical Composition Type: general – SubjectFull: Personal Autonomy Type: general – SubjectFull: Group Activities Type: general – SubjectFull: Audiolingual Skills Type: general – SubjectFull: Innovation Type: general – SubjectFull: Elementary Secondary Education Type: general Titles: – TitleFull: Another Perspective: The iPad Is a REAL Musical Instrument Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Williams, David A. IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 09 Type: published Y: 2014 Identifiers: – Type: issn-print Value: 0027-4321 Numbering: – Type: volume Value: 101 – Type: issue Value: 1 Titles: – TitleFull: Music Educators Journal Type: main |
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