I’m delighted to be part of a special issue of Arts Education Policy Review (v. 115, no. 1). The focus of the issue is the future of music education, with articles that respond to a 2001 article by Scott Shuler from the same publication and then go on to make new predictions.
The respondents include Barbara Payne McLain, Scott Shuler, and Evan Tobias. My response, “Algorithms and the Future of Music Education: A Response to Shuler,” discusses the rising importance of algorithms in music and education. I make the case that the pervasive nature of algorithms makes them consequential for all students and teachers, and I present five implications for music educators. As we shared drafts along the way, the process was pleasant and collaborative, and I do recommend writing for AEPR, in part due to the pleasure of working with Colleen Conway, the Editor-in-Chief (and this issue also has a short piece on writing for AEPR).
For those without institutional access, I am happy to share one of my contributor copies. Simply email me a request.
I presented at the 2013 College Music Society/Association for Technology in Music Instruction National Conference in Cambridge, MA. My talk was “Algorithms as Arbiters of Musical Culture: Exploring Implications for All Music Educators.”
I am not posting the paper I presented, but an article on algorithms in music education I have written will appear in Arts Education Policy Review (out early next year, and which I will link to once it is out).
I first got interested in algorithms through Ted Striphas’ posts on algorithmic culture, like this one: http://www.thelateageofprint.org/2010/06/14/how-to-have-culture-in-an-algorithmic-age/
Tarleton Gillespie’s “The Relevance of Algorithms” connects far-reaching ideas with detailed descriptions of algorithms in use: http://culturedigitally.org/2012/11/the-relevance-of-algorithms/
A comprehensive reading list was prepared for the Governing Algorithms conference: http://governingalgorithms.org/resources/reading-list/
I presented a talk on Tom Turino’s participatory music field and its potential for music education at the University of Nebraska’s CIC Music Education Conference on November 17, 2013. The paper explores the example of the Homebrew Ukulele Union to illustrate how the participatory field allows simultaneous participation across the age and ability spectrum, with each participant’s contributions equally valued.
I have uploaded the paper, with additional notes and references, to IDEALS: http://hdl.handle.net/2142/45872
The Homebrew has a WordPress: http://homebrewukuleleunion.wordpress.com
A moment of gratitude to celebrate the recent accomplishments of two wonderful former students:
1. Polly Yukevich (MME 2012) has been named Director of the Four Strings Foundation, Jake Shimabukuro’s educational outreach program (there’s a nice short piece at Guitar Player Magazine). Polly originally connected with Jake through an amazing project she undertook with her middle school students, and I expect great things to come from the foundation’s efforts. Catch Polly’s blog or Twitter (@PollyYuke).
2. Nick Jaworski (MME 2012, BME 2010) was awarded first place at the Spotify Music Education Hackathon, held this summer in New York. There were over 200 attendees, and Nick’s innovative approaches to technology and music education are a continued inspiration to me. Nick has many great posts for teachers on his blog, and, yes, he tweets (@JaworskiMusic).
For those interested, my column on Nathaniel Braddock’s great Beck Song Reader class at the Old Town School of Folk Music is now out. Here’s a link to a free version (draft, pre-press), and there’s a version behind a Sage paywall here (free for NAfME members and people at most universities).
My summer music education technology class took on collaboratively recording, arranging, and mixing “Why Did You Make Me Care?” from Beck’s Song Reader.
A brief explanation: Beck’s latest release is not a recording, but sheet music designed for amateurs and professionals to realize in any way they choose, without any canonic recording by Beck getting in the way. The Reader is beautiful, and getting involved in the project is a wonderful way to enjoy and appreciate Beck’s invitation for musicians to work playfully within his compositions. We took the piano + vocals sheet music and arranged it for the instruments we had, and we had more fun than we imagined and are pleased with the result.
Here’s our contribution:
Our group chose the name #fourfortyseven:
Vocals: Brandon Washington and Leigh Wiedelman
Trumpets: Allissa Carter, Nicholas Loafman, Daniel Morrion
Saxophones: Cody Halberstadt, Elizabeth Schurman
Guitars: Philip Meyer and Brandon Washington
Viola: Erica Charous
Clarinet: Jaime Faulhaber
Bass: Matthew Thibeault
Here are two other versions that get at the diversity of interpretations to be found diving into YouTube/Soundclound/etc.
Dewey in 1902, the year he argued for music in the Laboratory School.
While it is disheartening that arguments for music education have existed for over one hundred years, it is a pleasure to realize that educators often had amazing allies. During a recent research visit to the Center for Dewey Studies I came across 1902 correspondence in which John Dewey argued to keep music education at the University of Chicago Laboratory School. Below, I share an abbreviated version as a contribution to Music in Our Schools Month, particularly for those currently working to keep quality programs in place during difficult economic times.
I was extremely honored to receive the Outstanding Emerging Researcher Award, presented by the Center for Music Education Research at the Suncoast Music Education Research Symposium at the University of South Florida. I was particularly moved after hearing the exemplary papers of the conference, many of which will find an audience through a book Clint Randles is editing.
The plaque resides on my shelf at the Illinois Program for Research in the Humanities, where I am a Faculty Fellow at work on a related book.
My paper, The Shifting Locus of Musical Experience from Performance to Recording to New Media: Some Implications for Music Education, will be published in an upcoming issue of Music Education Research International. For the conference, I prepared brief remarks, drawing on my paper to set up a discussion, and for those interested in the basics of my paper I have posted those remarks on IDEALS.
For those considering attending the next SMERS Conference (2015), may I leave you with Continue reading