
Contents
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Biography Biography
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Music Education with Technology in the United Kingdom Music Education with Technology in the United Kingdom
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Challenging the Notion of the Digital Musician Challenging the Notion of the Digital Musician
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The Improvising Musicians The Improvising Musicians
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Contingent Practical Configurations Contingent Practical Configurations
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Variable Sociality Variable Sociality
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Variable Engagement and Interactivity Variable Engagement and Interactivity
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Musical Materials Musical Materials
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Authentic Music Technology within Music Education Authentic Music Technology within Music Education
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All Music Education Takes Place within a Rich Context of Contingent Practical Elements All Music Education Takes Place within a Rich Context of Contingent Practical Elements
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Music Education Always Takes Place within a Rich Technological Context Music Education Always Takes Place within a Rich Technological Context
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Working Productively with Technologies: Initiation, Delegation, Supervision, and Intervention Working Productively with Technologies: Initiation, Delegation, Supervision, and Intervention
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Conclusion: It’s All about the Music, Not the Technology Conclusion: It’s All about the Music, Not the Technology
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References References
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52 Authentic Approaches to Music Education with Technology
Get accessJonathan Savage is a reader in education at the Faculty of Education, Manchester Metropolitan University. He is managing director of UCan Play, a not-for-profit company (www.ucanplay.org.uk) that supports music education throughout the UK through the provision of consultancy, research, and training and is a point of sale for musical instruments, audio, and video technologies. He is a widely published author, having published over 16 books for Routledge, the Open University Press, and SAGE, and also numerous academic papers. Jonathan runs an active blog at http://www.ucanplay.org.uk/articles/.
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Published:10 August 2017
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Abstract
This chapter argues that approaches to music education with or without technology have been unhelpfully categorized in binary opposition. An example of this from qualification frameworks in the United Kingdom is explored. Notions of what constitutes a “digital” as opposed a “nondigital” musician are equally flawed. Rather, the chapter argues that a rich account of musical practice and music education should avoid artificial distinctions and focus on what really matters—the music itself. One example of such an approach from the world of electroacoustic music is presented as a potential way forward.
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