Course Purpose
The purpose of this course is to prepare educators and facilitators with the tools, competencies,
and historical context to aid students and stakeholders in leveraging technology toward enabling
classroom democratization and liberation.

What I’ve Learned So Far in Introduction to New Technologies in Music

My relationship with music technology is both limited and emerging. Coming into this course, my experience with music technology was primarily rooted in the tools I had used in my teaching practice, both in classroom settings and private lessons. For instance, I have utilized platforms like SmartMusic and Tonal Energy to support student assessment and practice. These tools have helped my students improve pitch accuracy, understand rhythmic consistency, and develop better intonation using tuners, metronomes, and drones. In my private teaching, I’ve worked with Cadenza, an accompaniment app that follows the performer’s phrasing and tempo, giving the performer the freedom to take and give time in their phrasing. I had the unique opportunity to work with the app’s developer during my undergraduate studies, which gave me valuable insight into how information technology can enhance musical independence and responsiveness. However, despite these experiences, I still feel like a beginner in understanding of the broader landscape of music technology.

Through this course, I have begun to view music technology not just as a tool, but as a vehicle for student-centered instruction and culturally responsive pedagogy in music education. My initial interest in learning how to create a digital music curriculum and develop technology-driven lesson plans has deepened into an exploration of how technology can democratize access to music education. As I reflect on what I’ve learned so far, I recognize that music technology allows students to engage with music without necessarily having to play an instrument or possess music literacy skills. This is especially important in creating more inclusive and equitable learning environments, and is very applicable to the current school I teach at. For example, learning how to use a Digital Audio Workstation (DAW) and teaching students to create tracks could expand musical opportunities for those who may not otherwise find their place in a traditional band or orchestra setting, either because of a lack of interest or, even more importantly, a lack of access to those opportunities.

In readings by Lee and Chang (2021), I found powerful validation for this evolving perspective. Their research shows that music technology can improve not only musicianship but also social, cognitive, and communicative skills in inclusive classroom environments. It was eye-opening to read that “studies have shown that music technology activities have significantly improved children’s social interactions in the inclusive class” (Lee & Chang, 2021, p. 3). The emphasis on interpersonal interaction, rather than solely ensemble-based collaboration, reframed how I think about group music-making. Lee and Chang further state that “children have improved their cognition, attention, memory, and oral skills,” (p. 4), which are benefits often used to advocate for instrumental music programs—yet these same benefits are now being connected to digital music instruction. As someone who identifies as Taiwanese-American, this especially resonated with me, as I’ve had conversations with peers in Taiwan about culturally responsive pedagogy and how music technology can provide flexible, inclusive, and meaningful ways of teaching at the local and global level.

Expanding on this idea, Coles (n.d.) presents a compelling argument for student-centered, differentiated, and culturally responsive instruction made possible through music technology. I deeply appreciated their framing of technology as a means to create flexible learning environments where students can engage with content at their own pace and in their own way (Coles, n.d., p. 5). These ideas directly inform my own pedagogical goals, especially as I aim to support a diverse student population at TCCS this year. The belief that music education can be differentiated using technology supports my desire to move away from one-size-fits-all instruction in a master-apprentice model and towards democratic, student-driven learning.

As I reflect on my teaching journey, I realize how important it is to revisit and revise my pedagogical beliefs regularly. Teaching is a profession that demands constant reflection and adaptation. No educator remains the same throughout their career. From the first teaching philosophy I drafted in my undergraduate years to where I am now, my beliefs have matured. Eight years ago, my philosophy was rooted in well-meaning ideals, but lacked the contextual awareness needed to deal with real classroom dynamics. Today, I still believe that every child deserves to feel safe, but I now better understand how to create that safety through curriculum design, classroom management, and equitable teaching strategies.

This course has already started to reshape my views on how technology can support that negotiation. Whether I’m using notation software and theory drill programs in a music theory course or embracing loop-based DAWs and collaborative online platforms in a digital music class, I am learning how to embed technology in a way that aligns with my educational values (Cremata, 2017; Green, 2008). Importantly, these tools are not replacing musicianship; they are expanding it, offering new modes of expression and understanding. What I have learned from my peers who share similar interests and motivations as me, but possess different experiences in music education, is that I have much to learn from how they have used BandLab, SoundTrap, FL Studios, and Chrome Music Lab to support their digital and general music classes. Building a robust, relevant, and well-balanced curriculum that emphasizes curiosity, joy, and freedom to explore music without previous literacy skills, and learning how to read music for the first time, is a priority for me in this class.

Ultimately, my biggest takeaway so far is that music technology promotes access to creative and flexible musical experiences. If used intentionally, it can help create classrooms where all students, regardless of background or ability, feel a genuine sense of belonging and empowerment. This aligns closely with my personal goals as a music educator: to build inclusive, student-centered learning environments where every child can find their voice—whether through a violin or writing a rap and making a beat with a DAW.

References

Allsup, R. E. (2016). Remixing the classroom: Toward an open philosophy of music education. Indiana University Press.

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. Oxford University Press.

Coles, A. (n.d.). Music technology and culturally responsive pedagogy. [Course reading].

Cremata, R. (2017). Digital and participatory: New musics and pedagogical change. In B. Powell, R. D. Smith, & M. P. Schmidt (Eds.), Marginalized voices in music education (pp. 101–118). Routledge.

Green, L. (2008). Music, informal learning and the school: A new classroom pedagogy. Ashgate.

Lee, J., & Chang, H. (2021). The inclusive music classroom through technology: Creating belonging through sound. International Journal of Music Education, 39(2), 123–134.