Sociomusicology: Laptop Computer as an Instrument

9/25/24

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.

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Welcome to Sociomusicology

For over 15 years (since 2007), this website has offered musings on contemporary society and its music by David G. Hebert, PhD. He is a sociomusicologist specializing in global music education who has held academic positions with universities on five continents. Dr. Hebert is now a tenured full Professor with Western Norway University of Applied Sciences, Bergen. There he leads the Grieg Academy Music Education (GAME) research group and manages the multinational government-funded Nordic Network for Music Education, which organizes annual intensive Master courses and exchange of teachers and students across eight countries. He is also an Affiliated Professor with University of the Faroe Islands and an Honorary Professor in China with the Education University of Hong Kong.

Professor Hebert's research applies an international-comparative perspective to issues of pluralism, identity, and cultural relevance in music education, as well as processes by which new music traditions emerge and change - both sonically and socially - as they are adopted into institutions. Born in the 1970s, he is among the most widely-published and globally-active music scholars of his generation (h-index:20; i10-index:30), with professional activities in an average of 8 countries per year across the past decade (2008-2020).