
Contents
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Technology in Context Technology in Context
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Technology, Informal Learning, and Play Technology, Informal Learning, and Play
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Innovation, Play, and Technology Innovation, Play, and Technology
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References References
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24 Exploring Intersections of Technology, Play, Informality, and Innovation
Get accessGillian Howell is a PhD researcher at Queensland Conservatorium Griffith University and lecturer in Community Music Leadership at Melbourne Polytechnic. Her research investigates participatory music initiatives in post-conflict countries, and diverse aspects of intercultural community music leadership and participation. She has worked as a music leader, trainer, and consultant researcher in post-conflict settings in Europe, South Asia, and South-East Asia, most recently as a 2016 Endeavour Research Fellow in Sri Lanka. Gillian is also an award-winning teaching artist and community music practitioner, working with many of Australia’s leading orchestras, festivals, and arts organizations. She was the founding creative of the Melbourne Symphony Orchestra’s Community Engagement Program, drawing the orchestra into new collaborations in hospitals, prisons, and theatre companies, and creating some of its most enduring learning and engagement programmes. In addition to her research publications, Gillian is the author of the long-running blog Music Work, sharing ideas for creative community music projects with teaching artists and educators around the world. http://www.gillianhowell.com.au
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Published:10 August 2017
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Abstract
The idea that “humans are the ones making the music” (Pignato, this volume) is the starting point for reflection upon the factors beyond new technologies that encourage musical innovation. In their core perspectives, Pignato, Peppler, and Kigozi offer illustrations of practices that demonstrate the inseparability of context, informality, and innovation. Context is critical, as different settings afford access to different technologies and produce diverse sociocultural structures. Informality—as a learning style, an approach to engagement, and settings beyond the formal music education institutions—is important for its accommodation of playfulness, open-ended exploration, and improvisation around imposed constraints. I argue that these factors, and the innovative responses that emerge when technologies and creative people converge, are interrelated and multidirectional. Regardless of how advanced our technological capabilities become, innovation and new musical expressions remain products of humans interacting and exploring technological possibilities within a specific time, space, and social environment.
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