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Zusatztext 'The editors have assembled an impressive list of contributors - 17 academics, teachers, researchers and musicians, who are mainly from the UK but also from Ireland, Australia, Hong Kong and the USA... [This book] explores a wide range of digital technologies, including iPods, ring tones, DJ mixing, MIDI workstations, sound synthesis, recording, sequencing and score writing software, and the affordances of Web 2.0, including blogs, podcasts, wikis and social networking sites.' British Journal of Music Education Informationen zum Autor John Finney is Senior Lecturer in Music Education at the Faculty of Education, University of Cambridge, UK. Pamela Burnard is Professor of Arts, Creativites and Education at the University of Cambridge, UK. Recent publications include Musical Creativities in Practice (2012), Teaching Music Creatively (with Regina Murphy, 2013) and Developing Creativities in Higher Music Education (2013). Anthony Adams was formally lecturer in English and Education at the School of Education in the University of Cambridge. Sue Brindley is Senior Lecturer in Education at the University of Cambridge, UK. This book draws together a range of innovative practices underpinned by theoretical insight that helps to clarify musical practices of relevance to the changing nature of schooling and the transformation of music education. In this way it addresses a pressing need to provide new ways of thinking about the application of music and technology in schools. Vorwort Explores new ways on thinking about the meaningful application of music and ICT in schools. Zusammenfassung This book draws together a range of innovative practices, underpinned by theoretical insight, to clarify musical practices of relevance to the changing nature of schooling and the transformation of music education and addresses a pressing need to provide new ways of thinking about the application of music and technology in schools. The contributors covers a diverse and wide-range of technology, environments and contexts on topics that demonstrate and recognize new possibilities for innovative work in education, exploring teaching strategies and approaches that stimulate different forms of musical experience, meaningful engagement, musical learning, creativity and teacher-learner interactions, responses, monitoring and assessment. Inhaltsverzeichnis Series Foreword \ Acknowledgements \ Introduction\ Part I: Changing Identities \ 1. Music Education as Identity Project in aWorld of Electronic Desires John Finne y \ 2. Perspectives from a New GenerationSecondary School Music Teacher Hannah Quinn \ 3. The Gender Factor: TeachingComposition in Music Technology Lessons to Boys and Girls in Year 9 Louise Cooper \ 4. Finding Flow through Music Technology Serena Croft \ 5. The Mobile Phoneand Class Music: A Teacher's Perspective Alex Baxter \ Part II: ResearchingDigital Classrooms \ 6. The DJ Factor: Teaching Performance and Compositionfrom Back to Front Mike Challis \ 7. Composing with Graphical Technologies:Representations, Manipulations and Affordances Kevin Jennings \ 8. NetworkedImprovisational Musical Environments: Learning through On-line CollaborativeMusic Making Andrew R. Brown and Steven Dillon \ 9. Music e-LearningEnvironments: Young People, Composing and the Internet Frederick A. Seddon \ 10.Current and Future Practices: Embedding Collaborative Music Technologies in SecondarySchools Teresa Dillon \ Part III: Strategies for Change \ 11. Strategies forSupporting Music Learning through On-line Collaborative Technologies S. AlexRuthmann \ 12. Pedagogical Strategies for Change Jonathan Savage \ 13. NewForms of Composition, and How to Enable Them Ambrose Field \ 14. M...
