This design case describes how the principles of Universal Design for Learning (UDL) informed the development of SpectrumPlay, a digital tool created to support learning and instruction of elementary music literacy and composition in inclusive music classrooms. The learning supports embedded in the tool enable students with visual processing…

The "Listening to Music" course is an important link in the music education of a child. The "Listening to Music" course fosters love and interest in music, teaches to understand its language, and develops emotional responsiveness in children. The article considers new opportunities in teaching the "Listening to Music"…

Interest in creative music technologies is on the rise among secondary students. Still, some music teachers are unsure how to integrate creative music technologies into their instruction. This article explores one versatile and powerful technology for the music classroom: digital audio workstations (DAWs). First, I discuss the central role of…

This article describes the process used to develop and assess an NSF-funded instructional innovation: an online collection (https://www.CAUSEweb.org/smiles/) of 28 interactive songs of high esthetic quality designed to span literature-based learning objectives of introductory statistics that develop statistical literacy and reasoning. The…

Although recent advances make it easier than ever before for students with severe visual impairments to be fully accommodated in the music classroom, one of the most significant current challenges in this area is most music educators' unfamiliarity with current assistive technology. Fortunately, many of these tools are readily available and even…

In today's complex music software packages, many features can remain unexplored and unused. Software plug-ins--available in most every music software package, yet easily overlooked in the software's basic operations--are one such feature. In this article, I introduce readers to plug-ins and offer tips for purchasing plug-ins I have…

I am a composer, producer, pianist and part-time music lecturer at a Further Education college where I teach composing on Music Technology courses at levels 3 (equivalent to A-level) and 4 (Undergraduate/Foundation Degree). A "Music Technology" course, distinct from a "Music" course, often attracts applicants from diverse musical backgrounds; it…

One computer, one class, and one educator can be an effective combination to engage students as a group in music composition, performance, and analysis. Having one desktop computer and a television monitor in the music classroom is not an uncommon or new scenario, especially in a time when many school budgets are being cut. This article…

As music making and technology grow more entwined, it is important for teachers to become familiar with available hardware, software, Web apps, yMIDI, sequencing, sampling and other emerging products. If music students in today's digital world wish to make a career out of doing what they love--whether as performers or conductors, composers or…

In this article, the author explores the digital artwork of Brian Evans, a composer-artist who creates visualizations of sound. Through the years Evans' love for music and visual art led him to explore ways to work concurrently with image and sound. Digital technology proved to be such a means. Digital technology is based upon the transcription of…

An innovative ICT project called "Compose" has been implemented in some New Zealand primary schools in an effort to counteract the lack of classroom composition opportunities. "Compose" combines the use of music software and online learning with attempts to address barriers to primary classroom composition. This article…

Describes the Contemporary Music Analysis Package (CMAP), a set of programs for atonal and serial music that is used for analysis, modeling, and composition of contemporary music in an interactive computing environment. The data structure is explained, examples are given, and a glossary of technical terminology is provided. (12 references) (LRW)

Seeking understandings of the relationships children have with electronic environments is needed in order to continue to develop our understandings of what children are doing in those environments and why. This paper looks at the musical compositions of children in an electronic environment and attempts to demonstrate how those compositions are as…

Discusses how computer-generated music can be used as a starting point to explore the science of sound. Listings for programs which focus on pitch (including a pitch matching game), beat, and frequency are included. (JN)

This article investigates the multimodal affordances presented by music software and how it can provide new opportunities for students to engage with composition work in the classroom. It seeks to broaden the scope of current research into classroom composition using technology, through a study of students' environments and compositional processes…