Abstract:

The formal learning mode in many instrumental learning contexts, regardless of genre, is the master-apprentice relationship, often taking place with an individual student, though small group learning may also occur (Webb & Seddon, 2018). The teacher is often an expert performer who teaches through demonstration and the topdown teaching and learning environment of the lesson places the student learning largely in the hands of the teacher. Yet, recent calls for accounting for the learner voice in music learning processes discuss the significant benefits for both learner and learning environment (Depré & Dubé, 2020); indeed, Rudduck (2007) suggests this would involve a break in hierarchy and “an important shift in the status of students [...] and in the teacher-student relationship” (p.587).

On a parallel front, advances in music technology open up profound possibilities for music teaching and learning and for breaking down the hierarchies that instrumental learning contexts perpetuate; among others they may highlight learners’ own creative and agentic music-making in the school music classroom (Gall & Breeze, 2005) or the instrumental music lesson (Rowe et al., 2015). Technology use in the instrumental music classroom (individual or group), till recently, had often limited purposes, such as preparation of handouts or musical scores, the viewing of videos and recording of students’ playing for discussion and reflection (see Macrides & Angeli, 2020 for an overview). Instrumental music educators’ lack of technological content knowledge and technological pedagogical content knowledge was further evidenced during the 2020-21 lockdowns whereby instrumental classes took place entirely online.

This paper will problematise, through a review of recent literature, both the recent digital innovations that advances in technologies have brought about for instrumental music teaching and learning and the pedagogical implications arising from their use. This is an exciting and emerging area for instrumental music teaching, not least because digital innovations may lead to problematising centuries-old pedagogical approaches. Implications for initial teacher education are also highlighted.

References:
[1] Depré, J.-P., & Dubé, F. (2020). The Music Learner Voice: A Systematic Literature Review and Framework. Frontiers in Education, 5. doi: 10.3389/feduc.2020.00119
[2] Gall, M., & Breeze, N. (2005). Music composition lessons: The multimodal affordances of technology. Educational Review, 5(4), 415–433.
[3] Macrides, E. & Angeli, Ch. (2020) Music Cognition and Affect in the Design of Technology-Enhanced Music Lessons. Frontiers in Education, 5. doi: 10.3389/feduc.2020.518209
[4] Rowe, V., Triantafyllaki, A. & Anagnostopoulou, C. (2015) Young pianists exploring improvisation using interactive music technology. International Journal of Music Education 33(1), 113-130. doi: 10.1177/0255761414540137
[5] Rudduck, J. (2007). “Student voice, student engagement, and school reform. In D.Thiessen & A.Cook-Sather (eds) International Handbook of Student Experience in Elementary and Secondary School, 587–610. Dordrecht: Springer. doi: 10.1007/1-4020-3367-2_23
[6] Webb, M. & Seddon, F. (2018) Musical instrument learning, music ensembles, and musicianship in a global and digital age. In G.E.McPherson & G.F.Welch (eds) Vocal, Instrumental and Ensemble Learning and Teaching. An Oxford Handbook of Music Education, Vol.3, 209-225. New York: OUP.

Keywords:

Digital innovations, instrumental music teaching and learning, music pedagogy.