The exclusive distance (without presence) induces, most of the time, a pre-programmed teaching.
Historically based on epistolary exchange, in other words correspondence, distance learning (named firstly “correspondence courses”), has followed the evolution of communication techniques, such as the telephone, radio, television, CD-Rom, and finally the Internet (with for example the MOOC format), without being modified in its methods.
The teacher’s role is to ensure that the course content, accompanied by assignments to be completed and documentary or technical elements to be consulted, reaches the learner and that the learner sends back proof of the progress of his or her learning through technological devices. It is traditionally approached as an alternative or substitute. Distance education as education that lacks physical presenceĭistance education is an old way of teaching. Finally, we will examine digital uses in teaching and research issues on digital musical learning. We will then look at the ongoing transformations in musical practices, and then in the pedagogical sphere in the digital age. We will first highlight the difference between distance learning and the use of digital technology in learning situations. The use of digital technology became suddenly necessary to ensure the continuity of music education and provoked teachers and students to discover and become aware of possibilities and limits of this alternative mode of musical teaching. Music schools have indeed changed their entire operation to continue to carry out their mission and embrace distance learning, often without prior training in digital tools.
This has become all the more evident since the Covid pandemic has required protocols for social distancing. However, considering that digital practices change the way we create, play, broadcast, and listen to music (Prior, 2012), they may also transform the ways we learn music, and therefore concern the way we teach music. The constant evolution of digital tools has contributed to the emergence of new languages and artistic forms (Le Guern, 2012 Prior, 2012), which are changing the networks and conventions of artistic cooperation (Becker, 1999) and fostering creativity. Since cultural practices entered the digital age (Donnat, 2008) in France, musical life has been affected in all its aspects by this technological revolution. Computers and music research Music and sound analysis Aural and musicianship training Assessment Administration - Implementation.By Sandrine Desmurs and the members of the SMS Digitisation Working Group. Synthesizer performance Live electronic music Interactive computer music Digitizing and visualizing music Music for visual narrative Rich media environments Music distribution in the age of the Internet - Reflection. Audio recording Music publishing MIDI sequencing Algorithmic music Sound synthesis - Presentation. Ways of making music with technology Philosophical considerations A brief history of music technology - Production. Brown PublicationĬontent type MARC source rdacontent Contents Context. Label Computers in music education : amplifying musicality, Andrew R.
#Computers in music education amplifying musicality code#
Setting up a computer music system Distance education and e-learning Integrating new technologies Possible futures for computers in music education Control code 76925252 Dimensions 25 cm Extent xxii, 338 pages Isbn 9780415978507 Lccn 2006100586 Media category unmediated Media MARC source rdamedia Media type code Computers and music research Music and sound analysis Aural and musicianship training Assessment Administration - Implementation. 323-330) and index Carrier category volume Carrier category codeĬarrier MARC source rdacarrier Content category text Content type codeĬontent type MARC source rdacontent Contents Context. Computers in music education : amplifying musicalityīibliography note Includes bibliographical references (p.
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