Laptop Computer as an Instrument

Is it reasonable to think of common laptop computers as musical instruments? It might seem like a strange question but actually, a large proportion of the most popular music in the world today is produced almost entirely on computers. Many kinds of music ensembles also feature "live electronics" in their performances. Still, for those of us who love traditional musical instruments it can be a bit sad to think of common computers as instruments.

An article co-authored with my new PhD student Kristian Tverli Iversen (Western Norway University of Applied Sciences) examines how music teachers in Norway approach teaching music with the laptop computer as their instrument. As creative teachers aim to negotiate this new challenge with curricular requirements, the resulting situation naturally creates novel pedagogical issues: what are the equivalents for technical drills and “repertoire” on such an instrument? There is also a broader philosophical concern: With openness to technological innovations, how are we to attain an optimal balance with the notions of heritage and tradition in music teaching? 

Kristian Iverson’s unique article, with my support as co-author, will appear soon in the British Journal of Music Education (Cambridge University Press).  

Below is the full bibliographic reference, abstract, and a link to the journal where it will soon be available:

 

Iversen, K. T. & Hebert, D. G. (2024, in press). Laptop computer as instrument in music performance lessons: Issues and opportunities. British Journal of Music Education.

Abstract

In the twenty-first century we are increasingly exposed to music created entirely on computers. This article shows how pioneering music teachers approach the challenge of teaching music on the laptop computer in the context of one-to-one musical instrument lessons. Interviews and observations with five laptop teachers in Norwegian secondary schools enabled the authors to explore characteristic challenges in this field. This study explored two research questions: What are the instructional strategies, content and “repertoire” in music lessons on laptop computer? How have teachers experienced the laptop’s evolutionary process toward legitimation?

Keywords: Laptop computer, live electronics, music technology, individual lessons

https://www.cambridge.org/core/journals/british-journal-of-music-education

  

Displayed above: Public Domain image. 

Rethinking Musical Excellence

A new article is now available as an “online first” publication through the International Journal of Music Education (Sage publications). This article was co-authored with four doctoral students from around the world who participated in one of my online seminars at Bergen Summer Research School during the COVID-19 pandemic—Lu Liu, Sergio Garcia-Cuesta, Laura Chambers and Sergej Tchirkov—and contains some interesting discussion of ways that music programs might be reoriented and even rejuvenated in universities and conservatoires.

  

Link to access article: https://journals.sagepub.com/doi/full/10.1177/02557614241281992

 

The authors found that writings on decolonization can stimulate useful reflections and insights regarding issues and strategies for improving higher music education, particularly in terms of its Eurocentric and often excessively competitive emphases. The former is notable when contrasted with departments of language and literature, for instance (in which it is inconceivable that one would only examine western traditions), while the latter becomes obvious when compared with visual arts studies (in which nearly everyone would count as a “composer” if compared with music studies). 

 

In our view, different approaches that are more open to diverse forms of musicianship—whether Indigenous and non-western traditions, folk and popular music and electronic music genres, or studies that place more emphasis on originality with less focus on competition in virtuosic and standardized performances—all promise to strengthen the overall position of music in higher education.  

 

Below is the bibliographic reference and abstract, as well as a link for this article, which is published in an open-access format: 

Liu, L., Garcia-Cuesta, S., Chambers, L., Tchirkov, S. & Hebert, D. G. (2024).  Rethinking ‘musical excellence’ from a decolonial perspective: Disruptive autobiographical experiences among doctoral scholars. International Journal of Music Education. 

  

Link to access article: 

https://journals.sagepub.com/doi/full/10.1177/02557614241281992

  

Abstract

This collaborative autoethnography was developed by recent doctoral students in music from Southern Europe, Eurasia, East Asia, and North America, along with a professor based in Northern Europe. Our primary research question is “What can disruptive autobiographical experiences teach us about the implications of the decolonization movement for redefining “musical excellence” in higher music education?” The co-authors interviewed each other for their respective personal narratives on this theme, then collaboratively coded, analyzed and developed their results and interpretations. Four sub-questions served as prompts: (1) What was your gateway into music and how did the music learning-tradition that you were exposed to affect your development as a musician? (2) In what ways was the concept of “musical excellence” a part of your (early) development as a musician? (3) How does the concept of “musical excellence” impact how being an “artist” is defined by you and people around you? (4) How did this perception of “what is an artist” affect your musical path (and even how others perceive your career)? We share our findings and discuss implications in terms of possible innovations to higher music education, definitions of “musical excellence,” approaches to evaluation, and the role of competition in education.

 

Displayed above: Public Domain image of medals from competition

 

Master Graduation

Today in Kampala, Uganda, Lydia Basemera became the first person in Music from the CABUTE project to be fully approved to graduate with her Master degree at Kyambogo University. It was a great pleasure to join her viva voce examination online, which contained many rigorous and insightful questions as well as opportunities for Lydia to demonstrate her competence.

We have been impressed by the work ethic and professionalism of the staff at Kyambogo University, and I would especially like to thank Dean Elizabeth Kyazike, Peter Ekadu-Ereu (Lydia’s supportive local co-supervisor), James Isabirye (another important mentor and productive scholar), Nicholas Ssempiija (ethnomusicologist and local leader of the Music branch of CABUTE), and Steinar Satre, who leads the entire project from here in Bergen, Norway.

The Music team of CABUTE has consistently benefitted from timely and effective cooperation, which is beneficial to all involved in the project. Indeed, there is an impressive community of music education researchers in Uganda that is determined to nurture the next generation.   

Congratulations, Lydia Basemera! 

Music4Change in Groningen

Plans are now in place for a unique music conference to be held in Groningen, Netherlands in early November: “2024 International Research School on the theme of Sustainable Cities and Cultures of Music.”

This event is connected with the EU Music4Change project and Grieg Research School for Interdisciplinary Music Studies.

My main activity at this conference will be to serve as Respondent for the “Prøvedisputas” of PhD candidate Elizabeth Oltedal (of Volda University College, Norway), as she reaches the final stages for completion of her PhD.

Elizabeth has long been deeply interested in the challenges associated with developing fair, accurate, and meaningful assessments of music performances. This is a complex and important topic of relevance to all music teachers, and I look forward to seeing what we can learn from Elizabeth’s research.

 

Click HERE and HERE for more information about this event in Groningen, Netherlands.

Image source: https://commons.wikimedia.org/wiki/File:Martini_Toren.JPG