Aglaya Play: Designing a software solution for group compositions in the music classroom

References

1. Baerveldt, C., and Cresswell, J.. ( 2015;), ‘ Creativity and the generative approach to culture and meaning. ’, in V. P. Glaveanu,, A. Gillespie, and J. Valsiner. (eds), Rethinking Creativity: Contributions from Social and Cultural Psychology, London:: Routledge;, pp. 93–109.
   [Google Scholar]
2. Bruffee, K. A.. ( 1995;), ‘ Sharing our toys: Cooperative learning versus collaborative learning. ’, Change: The Magazine of Higher Learning, 27:1, pp. 12–18, https://doi.org/10.1080/00091383.1995.9937722. Accessed 10 April 2020.
   [Google Scholar]
3. Cangro, R.. ( 2016;), ‘ Student collaboration and standards-based music learning: A literature review. ’, Update: Applications of Research in Music Education, 34:3, pp. 63–68, https://doi.org/10.1177/8755123314568794. Accessed 2 March 2020.
   [Google Scholar]
4. Chen, J.. ( 2020;), ‘ Mobile composing: Professional practices and impact on students’ motivation in popular music. ’, International Journal of Music Education, 38:1, pp. 147–58, https://doi.org/10.1177/0255761419855820. Accessed 11 June 2020.
   [Google Scholar]
5. Chen, J., and O’Neill, S. A.. ( 2020;), ‘ Computer-mediated composition pedagogy: Students’ engagement and learning in popular music and classical music. ’, Music Education Research, 22:2, pp. 185–200, https://doi.org/10.1080/14613808.2020.1737924. Accessed 10 April 2020.
   [Google Scholar]
6. Craft, A.. ( 2012;), ‘ Childhood in a digital age: Creative challenges for educational futures. ’, London Review of Education, 10:2, pp. 173–90, http://oro.open.ac.uk/37518/. Accessed 10 April 2020.
   [Google Scholar]
7. Cycling’74 and IRCAM ( 2019), Max-MSP, computer software , Paris:: Cycling’74–IRCAM;.
   [Google Scholar]
8. Dillenbourg, P.. ( 1999;), ‘ What do you mean by “collaborative learning?”. ’, in P. Dillenbourg. (ed.), Collaborative Learning, Oxford:: Elsevier;, pp. 1–19.
   [Google Scholar]
9. Duarte-García, M., and Sigal-Sefchovich, J.. ( 2019;), ‘ Working with electroacoustic music in rural communities: The use of an interactive music system in the creative process in primary and secondary school education. ’, Organised Sound, 24:3, pp. 228–39, https://doi.org/10.1017/s135577181900030X. Accessed 2 March 2020.
   [Google Scholar]
10. Dumont, H.,, Istance, D., and Benavides, F.. ( 2010), The Nature of Learning: Using Research to Inspire Practice, Paris:: OECD;.
    [Google Scholar]
11. Dwyer, R.. ( 2016), Music Teachers’ Values and Beliefs, London:: Routledge;, https://doi.org/10.4324/9781315596839. Accessed 10 April 2020.
    [Google Scholar]
12. Egan, K.,, Cant, A., and Judson, G.. ( 2014), Wonder-Full Education: The Centrality of Wonder in Teaching and Learning across the Curriculum, London:: Routledge;.
    [Google Scholar]
13. Eyles, A.. ( 2018;), ‘ Teachers’ perspectives about implementing ICT in music education. ’, Australian Journal of Teacher Education, 43:5, pp. 110–31, https://doi.org/10.14221/ajte.2018v43n5.8. Accessed 10 April 2020.
    [Google Scholar]
14. Engeström, Y.. ( 1999;), ‘ Activity theory and individual and social transformation. ’, in Y. Engeström,, R. Miettinen, and R.-L. Punamäki. (eds), Learning in Doing: Social, Cognitive, and Computational Perspectives – Perspectives on Activity Theory, Cambridge:: Cambridge University Press;, pp. 19–38, https://doi.org/10.1017/CBO9780511812774.003. Accessed 10 April 2020.
    [Google Scholar]
15. Engeström, Y.. ( 2015), Learning by Expanding: An Activity-Theoretical Approach to Developmental Research, , 2nd ed.., Cambridge:: Cambridge University Press;.
    [Google Scholar]
16. Fautley, M.. ( 2010), Assessment in Music Education, Oxford:: Oxford University Press;.
    [Google Scholar]
17. Freedman, B.. ( 2013), Teaching Music through Composition: A Curriculum Using Technology, Oxford:: University Press;.
    [Google Scholar]
18. Freire, P.. ( 1998), Pedagogy of the Heart, New York:: Continuum;.
    [Google Scholar]
19. Gibson, E. J., and Pick, A. D.. ( 2000), An Ecological Approach to Perceptual Learning and Development, New York:: Oxford University Press;.
    [Google Scholar]
20. Glaveanu, V. P.. ( 2011;), ‘ How are we creative together? Comparing sociocognitive and sociocultural answers. ’, Theory & Psychology, 21:4, pp. 473–92, https://doi.org/10.1177/0959354310372152. Accessed 25 February 2020.
    [Google Scholar]
21. Guedes, C.. ( 2017;), ‘ Real-time composition, why it still matters: A look at recent developments and potentially new and interesting applications. ’, in 2017 ICMC/EMW: 43rd International Computer Music Conference and the 6th International Electronic Music Week, 16–20 October, Shanghai:: Conservatory of Music;, pp. 162–67.
    [Google Scholar]
22. Holland, D.. ( 2015;), ‘ A constructivist approach for opening minds to sound-based music. ’, Journal of Music, Technology & Education, 8:1, pp. 23–29, https://doi.org/10.1386/jmte.8.1.23_1. Accessed 25 February 2020.
    [Google Scholar]
23. Hopkins, M.. ( 2013;), ‘ Factors contributing to orchestra teachers’ inclusion of composing activities in their curricula. ’, String Research Journal, 4:1, pp. 15–36, https://doi.org/10.1177/194849921300100402. Accessed 25 February 2020.
    [Google Scholar]
24. Huovinen, E., and Rautanen, H.. ( 2019;), ‘ Interaction affordances in traditional instruments and tablet computers: A study of children’s musical group creativity. ’, Research Studies in Music Education, 42:1, pp. 94–112, https://doi.org/10.1177/1321103X18809510. Accessed 10 April 2020.
    [Google Scholar]
25. Johnson, D., and Johnson, T.. ( 2009;), ‘ An educational psychology success story: Social interdependence theory and cooperative learning. ’, Educational Researcher, 38:5, pp. 365–79, https://doi.org/10.3102/0013189X09339057. Accessed 2 March 2020.
    [Google Scholar]
26. Kaschub, M., and Smith, J.. ( 2009), Minds on Music: Composition for Creative and Critical Thinking, Lanham, MD:: Rowman & Littlefield;.
    [Google Scholar]
27. Kaschub, M., and Smith, J.. ( 2013), Composing our Future: Preparing Music Educators to Teach Composition, Oxford:: Oxford Scholarship;.
    [Google Scholar]
28. Könings, K. D.,, Brand-Gruwel, S., and van Merriënboer, J. J. G.. ( 2007;), ‘ Teachers’ perspectives on innovations: Implications for educational design. ’, Teaching and Teacher Education, 23:6, pp. 985–97, https://doi.org/10.1016/j.tate.2006.06.004. Accessed 25 February 2020.
    [Google Scholar]
29. Leman, M., and Nijs, L.. ( 2017;), ‘ Cognition and technology for instrumental music learning. ’, in A. King,, E. Himonides, and A. Ruthmann. (eds), The Routledge Companion to Music, Technology, and Education, New York:: Routledge;, pp. 23–35.
    [Google Scholar]
30. Loes, C.. ( 2019;), ‘ Applied learning through collaborative educational experiences. ’, New Directions for Higher Education, 188, pp. 13–21, https://doi.org/10.1002/he.20341. Accessed 10 April 2020.
    [Google Scholar]
31. Masu, R.,, Conci, A.,, Core, C.,, Angeli, A., and Morreale, F.. ( 2017;), ‘ Robinflok: A polyphonic algorithmic composer for interactive scenarios with children. ’, in T. Lokki,, J. Pätynen,, and V. Välimäki. (eds), Proceedings of the 14th Sound and Music Computing Conference, Espoo, Finland, 5–8 July, pp. 125–32.
    [Google Scholar]
32. Menard, E. A.. ( 2015;), ‘ Music composition in the high school curriculum: A multiple case study. ’, Journal of Research in Music Education, 63:1, pp. 114–36, https://doi.org/10.1177/0022429415574310. Accessed 25 February 2020.
    [Google Scholar]
33. Moir, Z., and Medbøe, H.. ( 2015;), ‘ Reframing popular music composition as performance-centred practice. ’, Journal of Music, Technology & Education, 8:2, pp. 147–61, https://doi.org/10.1386/jmte.8.2.147_1. Accessed 10 April 2020.
    [Google Scholar]
34. Murillo, A.,, Riaño, M. E., and Berbel, N.. ( 2018;), ‘ Percepción sobre el uso de ‘Soundcool’ como propuesta de intervención en la creación sonora y en el desarrollo de competencias docentes. Un estudio exploratorio en la formación inicial del profesorado. ’, Psychology, Society, & Education, 10:1, pp. 127–46, http://doi.org/10.25115/psye.v0i1.1051. Accessed 14 June 2021.
    [Google Scholar]
35. Murillo, A.,, Riaño, M. E., and Berbel, N.. ( 2019;), ‘ El aula como caja de resonancia para la creación sonora: nuevas arquitecturas y herramientas tecnológicas para acercar el arte sonoro al ámbito educativo. ’, Revista Electrónica de LEEME, 43, pp. 1–18, https://doi.org/10.7203/LEEME.43.14007. Accessed 14 June 2021.
    [Google Scholar]
36. Ness, I. J., and Dysthe, O.. ( 2020;), ‘ Polyphonic imagination: Understanding idea generation in multidisciplinary groups as a multivoiced stimulation of fantasy. ’, Creativity Research Journal, 32:1, pp. 30–40, https://doi.org/10.1080/10400419.2020.1712163. Accessed 2 March 2020.
    [Google Scholar]
37. Nielsen, J., and Mack, R. L.. (eds) ( 1994), Usability Inspection Methods, New York:: John Wiley & Sons;.
    [Google Scholar]
38. Obendorf, H.. ( 2009), Minimalism: Designing Simplicity, London:: Springer;.
    [Google Scholar]
39. O’Neill, S. A.. ( 2006;), ‘ Positive youth musical engagement. ’, in G. McPherson. (ed.), The Child as Musician: A Handbook of Musical Development, New York:: Oxford University Press;, pp. 461–74.
    [Google Scholar]
40. O’Neill, S. A.. ( 2014;), ‘ Mind the gap: Transforming music engagement through learner-centred informal music learning. ’, The Recorder: Journal of the Ontario Music Educators’ Association, 56:2, pp. 18–22, https://bit.ly/2VujHDV. Accessed 25 February 2020.
    [Google Scholar]
41. O’Neill, S. A.. ( 2016;), ‘ Transformative music engagement and musical flourishing. ’, in G. McPherson. (ed.), The Child as Musician: A Handbook of Musical Development, Oxford:: Oxford University Press;, pp. 606–24.
    [Google Scholar]
42. Randles C.,, Kratus J., and Burnard P.. ( 2012;), ‘ Composition learning in music education. ’, in N. M. Seel. (ed.), Encyclopedia of the Sciences of Learning, Boston, MA:: Springer;, pp. 686–88.
    [Google Scholar]
43. Riaño, M. E.,, Murillo, A., and Tejada, J.. ( forthcoming;), ‘ estrategias docentes y procesos creativos en educación secundaria con software ex novo: un estudio exploratorio’ (‘Education, creativity and technology: An exploratory study on teaching strategies and creative musical activities with ex novo software’). , Educare.en, n.pag.
    [Google Scholar]
44. Savage, J.. ( 2010;), ‘ A survey of ICT usage across English secondary schools. ’, Music Education Research, 12:1, pp. 89–104, https://doi.org/10.1080/14613800903568288. Accessed 2 March 2020.
    [Google Scholar]
45. Savage, J.. ( 2015;), ‘ Music first and last developing a socially just pedagogical approach to music education with technology. ’, in C. Benedict,, P. Schmidt,, G. Spruce, and P. Woodford. (eds), The Oxford Handbook of Social Justice in Music Education, Oxford:: Oxford University Press;, pp. 487–500, https://doi.org/10.1093/oxfordhb/9780199356157.013.48. Accessed 14 February 2020.
    [Google Scholar]
46. Sawyer, K.. ( 2007), Group Genius: The Creative Power of Collaboration, New York:: Basic Books;.
    [Google Scholar]
47. Schoor, C.,, Narciss, S., and Körndle, H.. ( 2015;), ‘ Regulation during cooperative and collaborative learning: A theory-based review of terms and concepts. ’, Educational Psychologist, 50:2, pp. 97–119, https://doi.org/10.1080/00461520.2015.1038540. Accessed 10 April 2020.
    [Google Scholar]
48. Seddon, F.. ( 2012;), ‘ Empathetic creativity in music-making. ’, in O. Odena. (ed.), Musical Creativity: Insights from Music Education Research, Farnham:: Ashgate;, pp. 133–47.
    [Google Scholar]
49. Seddon, F., and Biasutti, M.. ( 2009;), ‘ A comparison of modes of communication between members of a string quartet and a Jazz sextet. ’, Psychology of Music, 37, pp. 395–415, https://doi.org/10.1177/0305735608100375. Accessed 2 March 2020.
    [Google Scholar]
50. Srinivas, H.. ( 2011), What Is Collaborative Learning?, Kobe:: The Global Development Research Center;, http://www.gdrc.org/kmgmt/c-learn/index.html. Accessed 2 April 2020.
    [Google Scholar]
51. Štemberger, T., and Cencič, M.. ( 2016;), ‘ Design based research: The way of developing and implementing educational innovation. ’, World Journal on Educational Technology: Current Issues, 8:3, pp. 180–89, https://doi.org/10.18844/wjet.v8i3.621. Accessed 6 June 2020.
    [Google Scholar]
52. Sweller, J.,, Ayres, P., and Kalyuga, S.. ( 2011), Cognitive Load Theory, New York:: Springer;.
    [Google Scholar]
53. Takasu, H., and Takasu, A.. ( 2019;), ‘ Creativity in the Japanese National Curriculum for Music. ’, in Y. Tsubonou,, A. G. Tan, and M. Oie. (eds), Creativity in Music Education: Creativity in the Twenty First Century, Singapore:: Springer;, pp. 217–30, https://doi.org/10.1007/978-981-13-2749-0_16. Accessed 10 April 2020.
    [Google Scholar]
54. Tejada, J., and Thayer, T.. ( 2019;), ‘ Design and validation of a music technology course for initial music teacher education based on the TPACK Model and the Project-Based Learning approach. ’, Journal of Music, Technology, and Education, 12:3, pp. 225–46, https://doi.org/10.1386/jmte_00008_1. Accessed 10 April 2020.
    [Google Scholar]
55. Veloso, A.. ( 2017;), ‘ Composing music, developing dialogues: An enactive perspective on children’s collaborative creativity. ’, British Journal of Music Education, 34:3, pp. 259–76, https://doi.org/10.1017/S0265051717000055. Accessed 10 April 2020.
    [Google Scholar]
56. Viig, G. T.. ( 2015;), ‘ Composition in music education: A literature review of 10 years of research articles published in Music Education Journals. ’, Nordic Research in Music Education Yearbook, 16, pp. 227–57, http://hdl.handle.net/11250/2425480. Accessed 2 March 2020.
    [Google Scholar]
57. Vygotsky, L. S.. ( 1978), Mind in Society, Cambridge, MA:: Harvard University Press;.
    [Google Scholar]
58. Webster, R. P.. ( 2016;), ‘ Computer-based technology. ’, in G. McPherson. (ed.), The Child as Musician: A Handbook of Musical Development, Oxford:: Oxford University Press;, pp. 500–19.
    [Google Scholar]
59. Wise, S.,, Greenwood, J., and Davis, N.. ( 2011;), ‘ Teacher use of digital technology in secondary music education: Perceptions and issues. ’, British Journal of Music Education, 28:2, pp. 117–34, https://doi.org/10.1017/S0265051711000039. Accessed 10 April 2020.
    [Google Scholar]
60. Zyngier, D.. ( 2012;), ‘ Transformative student engagement: An empowering pedagogy: An Australian experience in the classroom. ’, in B. J. McMahon, and J. P. Portelli. (eds), Student Engagement in Urban Schools: Beyond Neoliberal Discourses, Charlotte, NC:: Information Age Publishing;, pp. 111–17.
    [Google Scholar]
61. Murillo, Adolf,, Elena Riaño, María, and Tejada, Jesús. ( 2021;), ‘ Aglaya Play: Designing a software solution for group compositions in the music classroom. ’, Journal of Music, Technology & Education, 13:2-3, pp. 239–61, https://doi.org/10.1386/jmte_00025_1
    [Google Scholar]