Judith Bowman, School of Music, Duquesne University

What is to be understood by a "pedagogy of music technology"? In this paper the expression is applied primarily to higher education, and it refers to a pedagogical approach that links the artistic and the technological, that reaches across a variety of music subjects to enhance the musical education of all students. It includes use of technology both as teaching tool and as content. It implies that curriculum and courses are developed or redesigned with technology integrated from the outset.

This plan for development of a pedagogy of music technology begins from the standpoint of several premises: (a) that a broad research base supports the general effectiveness of music technology in the classroom; (b) that greater consideration must now be given to the broad musical and educational context in which technology-based instruction is to be implemented; and (c) that more attention must now be directed toward development of appropriate instructional models and practical teaching methods. The aim is to begin to establish a foundation for technology-based music instruction.

Music technology faculty at the School of Music of Duquesne University have been developing an approach to teaching with music technology and teaching music technology as content at the college level. Through the associated community music school, they have been extending the approach to pre-college and elementary levels. Through graduates of the college programs and as a result of summer workshops the approach is being used in K-12 settings. The various music technologies used in music classrooms at all these levels have greatly increased the choices available to students. Because of this multiplicity of musical and technological choices it is important to create a systematic approach which links musicianship with artistic and skilled use of music technology. The students now in our college level programs are the musicians of the next century, and the computer and various music technologies will be in some way a part of each one's professional life. Therefore, their musical education should include artistic experiences with these technologies. Implied is different levels of technological expertise for students in different programs, with a base level for all. One of the challenges is to guide students toward those technologies that are best suited to helping them achieve their artistic goals and to build that instruction into the curriculum.

We developed the pedagogy as result of integrating music technology into classes, designing music technology courses, concentrations, and a music technology degree. We have used technology both as an instructional tool, to enhance the teaching of other subjects, and as content, the subject of instruction.

The School of Music is now rethinking its entire curriculum. The Dean and the Faculty have made a commitment to integrate the National Standards for Arts Education into the curriculum and to extend the Standards to the college level. We are developing new paradigms for the core musicianship courses and are integrating music technology from the outset. Supporting elements in this process include faculty development, student skills development, and infrastructure development.

We emphasize excellent musicianship linked with skilled and artistic use of music technology; we stress the importance of music technology for all students, with a basic skill level for all and specialization determined by degree program and individual interest. This kind of approach can support the redesign of music curriculum with technology as an integral part.

Our goals fall into three areas: (a) curriculum goals; (b) NASM Standards; and (c) National Standards for Arts Education. Musical and technological goals derived from our curriculum shaped the basic pedagogy; NASM and National Standards for Arts Education were also influential. The NASM Handbook states that "Through study and laboratory experience, students should be made familiar with the capabilities of technology as they relate to composition, performance, analysis, teaching, and research;" it adds that all professional undergraduate degree programs must "attend to the needs of students for working knowledge of the technological developments applicable to their areas of specialization" (p. 73). While none of the nine National Standards directly addresses music technology, integration of music technology is implied throughout the National Standards Arts Education: "The Standards should be considered as a catalyst for bringing the best arts-related technologies to bear on arts education...The Standards are not themselves dependent on any particular technology; they can be met using a variety of technologies on different levels...Success should thus be measured by how well students achieve artistic and intellectual objectives, not alone by how adept they are in using a given arts technology" (pp. 14-15).

Aligning technological considerations with the goals and standards involves several operations: (a) rethinking courses and taking into account current technologies and new ways of teaching that build upon them; (b) identifying technologies that can promote achievement of the musical goals; (c) specifying levels of these technologies, i.e., what technology at what level of expertise should be used to teach what musical skills and concepts; (d) relating music technologies to students’ experience and needs, e.g., "music processing" as compared with word processing and the broad long-term usefulness of skill with a music notation program, study of acoustic instruments and their electronic counterparts (MIDI controllers); (e) determining how the technology is used, i.e., as a tool to enhance teaching and learning, or as the subject matter itself; and (f) developing procedures for integrating the technologies into the curriculum.

In the process of implementing music technology across the music curriculum we integrated it into some existing courses and also created specialized music technology courses. We designed labs to support the curriculum concept, with skill-based access to the labs. With music technology courses we created concentrations in music technology, and with a support structure in place we created a Bachelor of Music in Music Technology degree program with tracks in Performance and in Electronic Composition.

Our strategy has been to determine what technology is appropriate for teaching what skill, and to correlate levels of technology skills with musical skill levels, i.e., to create a developmental sequence. The basis for this development is the musical and technological knowledge and skills that students need as musicians both now and into the future. This includes both theoretical and practical knowledge: MIDI theory, problem solving, and producing usable musical materials.

We developed content and established competencies on the basis of musical-technological expectations and the nature of musical-technological skills. Competencies are determined by musical considerations at the level of general course work and on the larger scale of the degree program. For example, what we expect as a result of basic study of music notation software is determined by what a student needs to know and be able to do in order to notate a score for string quartet, full orchestra, etc. What we expect as a result of study of MIDI controller techniques is sufficient familiarity with the capabilities of electronic instruments to arrange a short composition for electronic ensemble. On a large scale, what we expect of a graduate of the degree program is a spectrum of competencies needed to function in a studio setting. An analysis of musical-technological skills reveals the cognitive and motor processes involved in these competencies. These skills are not unlike other music performance skills: for example, sequencing skills are similar to the organist’s skills. Knowledge of MIDI theory and sound design might be compared to the organist’s knowledge of instrument construction. Electronic orchestration can be compared to creating registrations and combinations; acoustical considerations are important to both the synthesist and the organist. Both must master certain "moves" in order to give a finished performance. Even music notation programs require certain motor skills for efficient execution of the various entry modes.

On the basis of these competencies and an analysis of cognitive and motor processes, we developed a methodology. The instructional strategies converge into two approaches to active learning: guided labs and lecture-demonstration with a hands-on component.

Our intention has been to develop ways to integrate music technology into the teaching and learning environment that will result in optimal learning by all students. To achieve this goal we have tried to determine (a) what all musicians should know and be able to do with music technology; and (b) what musicians in the various specializations (music teachers, performers, composers, specialists in music technology) should know and be able to do with music technology.

The attached curriculum analysis chart presents a sampling of courses, with musical and technological goals and content, specific music technology used and how it is integrated, and method of evaluation. Also indicated is mode of integration (Course Title column) and National Standards addressed in the course (Evaluation column).