Annotated Bibliography

Anthony, B. (2018). Mixing as a performance: Educating tertiary students in the art of playing audio

equipment whilst mixing popular music. Journal of Music, Technology and Education, 11(1),

103-122. doi:10.1386/jmte.11.1.103_1

Mixing is a performance because it has many of the same qualities that performance on an

instrument has. The most significant similarity is that mixing invokes an emotional response

from the performer as well as the listener. This means that when teaching how to mix,

performance practices are something to keep in mind as students are learning how to mix.

Bauer, William & J. Dammers, Richard. (2016). Technology in Music Teacher Education: A

National Survey. Research Perspectives in Music Education. 18. 2-15.

After surveying 250 music education school directors, the findings were that many had some sort

of music technology class in the curriculum. However, there are difficulties such as resources

and the ever-changing nature of the music technology that is studied. Overall the survey showed

that many bachelor level college students were prepared to integrate music technology into the

classroom but not classes that were fully technology based.

Ben-Tal, O., & Salazar, D. (2014). Rethinking the musical ensemble: A model for collaborative

learning in higher education music technology. Journal of Music, Technology and Education,

7(3), 279-294. doi:10.1386/jmte.7.3.279_1

 Laptop ensembles are becoming a good way to foster an collaborative music-making experience.

It exposes students to real time composing and improvising while having more control over the

sound parameters than traditional music making experiences.

Carey, G., & Grant, C. (2015). Peer Assisted Reflection for Studio Music Teachers. Teaching for

Learning and Learning for Teaching, 63-78. doi:10.1007/978-94-6300-289-9_5

Music technology has created a platform for a more student-centered learning environment.

There are web-based learning platforms that decrease the role of the teacher of giving

instruction. Music technology has also created a creative outlet for those that enjoy using

technology to manipulate sound.

Landy, L. (2012). Discovered whilst entering a new millennium: A technological revolution that

will radically influence both music making and music education. Journal of Music, Technology

and Education, 4(2), 181-188. doi:10.1386/jmte.4.2-3.181_1

Technology should be used to enhance the music making process. This means that using internet

programs to subsidize learning is something that needs to be fostered. The focus needs to be on

music and not on technology when teaching students because music is the important part when

teaching music to students.

Moore, A., & Moore, D. (2008). Adapting to change: Working with digital sound using open source

software in a teaching and learning environment. Journal of Music, Technology and Education,

1(2), 113-120. doi:10.1386/jmte.1.2and3.113_1

Using an open source software is something that can be difficult as it has a large learning curve

and some may find themselves using older methods. It is clear that more research is necessary

but the goal is to create a free software for students to explore and create in an open software

medium. This will allow students to collaborate and create on a less constrained platform.

Rees, F. J. (2012). Redefining Music Technology in the United States. Journal of Music,

Technology and Education ,4(2), 149-155. doi:10.1386/jmte.4.2-3.149_1

Music technology is not required to be taught in the classroom but there are many possibilities

because it is a growing field. Having music teachers that do not ignore music technology and use

it in their classroom as instruments are invented that utilize technology to create music.

Savage, J. (2012). Toms story: Developing music education with technology. Journal of Music,

Technology and Education, 4(2), 217-226. doi:10.1386/jmte.4.2-3.217_1

Using an anecdote about a student that leans guitar using online resources and collaborating with

other students, the student learns guitar faster than they did with traditional guitar lessons. This is

discussed thoroughly and the implications that come with knowledge of students like the one in

the article.
Stansbie, A. (2010). Sounds, agents, works and listeners; A model of computer music

performance. Journal of Music, Technology and Education, 3(1), 17-30.

doi:10.1386/jmte.3.1.17_1

Stansbie challenges Stan Godlovitch’s model of musical performance that found that computer

music is not performed. Using four criteria, Stansbie breaks down the argument and finds that

computer music is performed.

Thompson, P. (2012). An empirical study into the learning practices and enculturation of DJs,

turntablists, hip hop and dance music producers. Journal of Music, Technology and Education,

5(1), 43-58. doi:10.1386/jmte.5.1.43_1

Interviewing DJs and producers, the article focusses on the process in which they learned and

how that process might be replicated if it were to be taught in a more formal setting. The

commonalities and differences between this learning process and the process of another DJ or

producer are mostly based around the need for solidary practice and the need to learn along with

someone else.

Wan, L. A., & Gregory, S. (2018). Digital tools to support motivation of music students for

instrumental practice. Journal of Music, Technology and Education, 11(1), 37-64.

doi:10.1386/jmte.11.1.37_1
 Using music technology resources can effect student’s motivation to varying and limited

degrees. This study described many limitations that programs can have especially when

attempting to measure a student’s motivation. Overall, the programs seemed to effect quantity of

practice but it difficult to measure quality.

Webster, P. R. (2012). Key research in music technology and music teaching and learning. Journal

of Music, Technology and Education, 4(2), 115-130. doi:10.1386/jmte.4.2-3.115_1

Technology can be a place where people that would not usually consider themselves musicians

can explore and manipulate audio in a new and creative way. Having access to affordable

programs and instructional videos they no longer need to have an expert in the room with then

while they are playing with DAWs or other music technology. Combined with the large group of

peers that are easily connected, this creates a playground for students to explore.

Williams, D. B. (2012). The non-traditional music student in secondary schools of the United States:

Engaging non-participant students in creative music activities through technology. Journal of

Music, Technology and Education, 4(2), 131-147. doi:10.1386/jmte.4.2-3.131_1

In order to bring more people into the music classroom and music creating process, using music

technology programs may attract a new population of people into the classroom. With no need to

know traditional music notation, this is something more people will be able to do. Students are

also already playing around with music programs so it would be beneficial to bring them into the

music classroom.
Wilsmore, R. (2010). The demonic and the divine: Unfixing replication in the phenomenology of

sampling. Journal of Music, Technology and Education,3(1), 5-16. doi:10.1386/jmte.3.1.5_1

Sampling in music is something that could be seen as unoriginal and whether or not it is really

creative. This means legally and morally so the article discusses how much originality is in

sampled music.