Journal of Music, Technology & Education - Volume 7, Issue 1, 2014

Computer-based software named the Tuning Perception Test (TPT) was developed using Processing, a free, open-source programming language. The specific pitch perception skills examined by the software included unison pitch-matching and harmonic P5 interval tuning. A pilot-test established reliability for the TPT and gathered preliminary data on string instrumentalists’ tuning accuracy at varied school levels (fifth, seventh, ninth, eleventh-grade, university music majors). Reliability was very strong for pitch-matching items (α=0.90) and for the perfect fifth tuning items (α=0.91). Pitch-matching and P5 tuning accuracy improved consistently as school level increased, suggesting that refinement of pitch perception occurs gradually over time, with beginning and intermediate string instrumentalists requiring training in pitch-matching and interval tuning to develop the pitch perception skills necessary to accurately tune a stringed instrument. Participants demonstrated a tendency towards tuning flat, with tuning accuracy decreasing at lower fundamental frequencies.

Determining the function of chords within a diatonic key can be difficult, especially for those listeners who do not regularly play instruments capable of producing chords. Software-based instruments, however, can allow an individual to play chords by pressing a single button as opposed to plucking several strings or pressing several keys. This quantitative study addressed two research questions: to what extent is a software-based musical instrument able to assist individuals in recognizing chord-contexts to the extent that traditional chordal instruments do? In what ways does a software-based musical instrument compare to a traditional chordal instrument as a viable aid for assisting individuals in chord-determination activities? In this Pre-/Post-test designed study, two groups of undergraduate music majors using either a chordal instrument or a software-instrument completed activities that emphasized understanding chord progressions. Results were compared within the groups and between groups. Both groups improved to some extent and there was no significant difference between the improvements within both groups overall, suggesting that the software instrument was as viable a mechanism for supporting the musical task as the traditional instrument. Additionally, the data suggest that the ability to recognize two of the five progressions, the vi IV I V and the I V vi IV, improved significantly in the experimental group but not in the control group.

Children’s enjoyable experience in music-making has been reported to be crucial for their social and musical development. This research investigates the way in which participant young children develop their musical and social skills by digital technology-supported music-making activities within a multicultural educational context. Two different software packages were used in the research. Data collection methods reported in the current article included observations and field notes, video analyses and dialogue analyses. Initial results indicate that children developed their musical knowledge as a part of their active interaction with others. In particular, their use of digital tools provided a supportive environment for collaborative music-making. In this process, which seems to be non-linear in nature, children were observed to develop negotiation skills, empathy and a tendency to verbalize their thoughts whilst exchanging their musical ideas. The initial findings, therefore, provide evidence that using appropriate music technology in a classroom can be of benefit for children to develop musical and social skills.

This article presents a study on the use of the Tenori-on instrument in music therapy clinical settings, as well as information about the functions of technology in music therapy. The Tenori-on is a digital instrument on which persons can play or compose music. Participants in the study included music therapists (MTs) and music therapy interns/students who received a Tenori-on to assess its application in their clinical work. Feedback was obtained through interviews and surveys on their experiences using the Tenori-on with a variety of populations and their assessments of the instrument’s ability to address communication, emotional, social and motor goals in individual and group settings. Participants described the instrument as fun, engaging, motivating, having sensory appeal, being well suited for improvisation and easy for non-musicians, but also complicated to master. The Tenori-on offers a new, accessible option for MTs to incorporate modern technology into their clinical practice.

This article examines methods for supporting students in music technology-related higher education to learn computer programming. The central argument made in this work is that using collaborative activities and encouraging regular reflective writing can benefit novices in their programming. To support this argument evidence from the teaching and learning literature will be presented along with primary research findings by the author. The research findings indicate that the collaborative activities and reflective writing exercise employed on an audio programming module were successful in supporting novices and helped to promote a more active learning environment with evidence of deeper learning and engagement in programming concepts.

This article examines a teaching approach founded on play-based learning, and underpinned by constructionist learning theory. This study describes a pilot programme introducing Pure Data (Pd) to undergraduate Music Production students as part of an Electronic Music module. The project was allowed to evolve and develop during the module in response to student needs and feedback. The teaching materials and pedagogy are presented along with lesson observations, tutor reflections and student feedback. The resources are evaluated using the Sig-Glue framework, and also examined for other desirable features of play-based resources. It is concluded that the resources incorporate many, but not all features which are conducive to play-based learning, and that students exhibit some behaviours typical of play-based learning. It is suggested that the approach may particularly suit non-programmers. Preliminary insights are offered along with recommendations for improvements and further applications.

Resonances: Noise and Contemporary Music, Michael Goddard, Benjamin Halligan and Nicola Spelman (eds) (2013) New York: Bloomsbury, 375 pp., ISBN: 9781441159373, p/bk, £17.99