Competences for the Music-Technology Context on the Distance
Learning
A Focus in the Use of Online Digital Technologies
Fatima Weber Rosas and Patricia Alejandra Behar
Núcleo de Tecnologia Digital Aplicada à Educação, Universidade Federal do Rio Grande do Sul,
Av. Paulo Gama, 110, Porto Alegre, Brazil
Keywords: Distance Learning, Music Composition, Digital Technologies.
Abstract: This article presents a case study about the competences for the music-technology context on the distance
learning from the use of online digital technologies. Although most of these tools haven’t been developed
for educational purposes, this paper reports their use over education. The article also aims to map the
necessary competences for students, teachers, musical tutors and outsiders in music to create their own
musical digital compositions for their digital educational materials (DEM). The results of the research are
presented in the end.
1 INTRODUCTION
Given the arrival of web based Technologies,
especially the free ones, musical composition
becomes available for either musicians or outsiders
in music. Thus, it may be implied that it is no longer
necessary to know how to play a conventional
musical instrument to virtually create music, since
computer performs this action. According to Iazetta
(2009), in accordance to Fritsch (2008), computer
encompasses the functions of the musical
instrument, amateur studio and performer, “[…]
merging the separation of singing, listening and
composition" (Iazzeta, 2009, p.158).
When treating about digital Technologies,
Palfrey and Gasser (2011) say that they have been
used in various fields of knowledge and with many
functions in the society. Professionals need
competences to perform on a more computerized
world. According to the authors, due to the
possibilities provided by the internet, there are
indications that there will be extraordinary digital
masterpieces
2
made by the Digital Native in the
future. However, at the same moment that these new
digital forms of art appear, there is a growing
concern with the cyber culture of “[…] ‘cut, mix and
burn’ (a CD or DVD) […]” (Palfrey and Gasser,
2011, p.146).
In accordance to Palfrey e Gasser (2011), Ribeiro
et al. (2011) points out that the use of Web 2.0 tools
may help in the creative process, once people create
and interact on the contents of the web, by sharing
intellectual productions, experience, information,
etc. in Weblogs, Wikis, social networks and others.
However, according to Behar et al. (2013), the
mere use of these tools does not assure a quality
final product or excellence on the teaching and
learning process. For the author, in order to have
quality Distance Learning those who wish to
compose through digital technologies need to build
knowledge, competences and attitude. This way,
they will be able to perform properly in the music-
technology context. By means of a study
1
, it was
tried to check what are the necessary competences
for students, teachers and tutors to perform in the
educational music-technology context. This
research, which will be detailed in section 4, had its
focus on online digital technologies with the use of
computer. Those herein described are consisted of
available resources at the internet, such as learning
objects (LO) and the digital music tools dedicated
that present the features of the Web 2.0. One of
these features is the creation and sharing of own
compositions. Online tools are software whose
storage and sharing occur at the internet, also known
as cloud computing. These resources have been used
in the educational context, especially in the Distance
Learning.
In the section 2 of this article, the factors that
influence the development of competences for music
621
Weber Rosas F. and Alejandra Behar P..
Competences for the Music-Technology Context on the Distance Learning - A Focus in the Use of Online Digital Technologies.
DOI: 10.5220/0004337106210626
In Proceedings of the 5th International Conference on Computer Supported Education (CSEDU-2013), pages 621-626
ISBN: 978-989-8565-53-2
Copyright
c
2013 SCITEPRESS (Science and Technology Publications, Lda.)
are presented, as well as the concept of musical
composition and its relation to creativity. On section
3 the online resources are presented as learning
objects, used as theorical and didactic support either
for distance learning or presential courses and
subjects. Section 4 is regarding a case study to
investigate the educational music-technology
competences, developed upon the use of the Web
2.0 tools. In the end, the final remarks are exposed
on section 5.
2 COMPETENCES FOR MUSIC:
A FOCUS OVER THE DIGITAL
MUSIC COMPOSITION
Tafuri (2008), in accordance to Hargreaves (2000)
and Stefani (2007), emphasize the importance of the
people’s interactions with the social, cultural and
educational environments, for the development of
competences for music.
Besides the influence of the social and cultural
environments, Hargreaves (2005) and Tafuri (2008),
state that self-confidence may be primordial for the
development of musical skills. For Dörge (2010),
besides self-confidence, creativity, flexibility and
autonomy are considered fundamental for the
development of competences. For Tafuri (2008), the
way individuals notice and construe the information
on the way to their brain depends on the knowledge,
interest, attitude, personality, self-confidence,
temper, and others.
Behar et al. (2013) is favorable to Tafuri’s (2008)
and Hargreaves’s (2000, 2005) ideas about the
importance of the social, cultural and educational
contexts for the development of musical
competences. The author also agrees with Peretz
(2006), who included the genetic influence.
However, competences are more than competences,
capacity or aptitude. It is understood, according to
Zabala and Arnau (2010), as the mobilization of
these elements, according to one’s experience,
psychological, cognitive and emotional formations
in the social context where they are inserted.
2.1 The Musical Composition
and its Relation to Creativity
According to Araújo (2006), on an attempt to find
and identity for the teaching profession, came the
need of specifying what are the knowings directed to
the musical domain in the teaching and learning
processes. The possibilities provided by the Web 2.0
allowed the exchange of information among
students, tutors and teachers on a virtual
environment and access to repertoires of many ages,
styles and genres. Besides the download option and
the listening of the musical repertoires at the web
pages, it is possible to create your own digital media,
integrating sounds, texts, images, songs in videos,
presentations, etc.
Ribeiro et al. (2011), in accordance to Araújo
(2006), claim that the social software of the Web 2.0
enable people to create, putting to practice learnings
that were not possible before these technologies
existed. For the author, the use of these tools may
help in the creative process, since individuals create
and perform over the web contents, taking advantage
of the public intelligence. In accordance to these
authors, these creative practices also occur in the
musical composition with this type of software and
are a result of a creative process of the individuals.
When referring to musical composition, Webster
and Hickey (2009), Maffioletti (2005) and Guterres
(2012) are favorable to the use of this practice as a
pedagogical activity for the teaching of music.
Guterres (2012) point out that the musical
composition is a “make to understand” the musical
contents. Webster and Hickey (2009) mention that
[...] in addition to the growing interest in
improvisation and its role in musical
development, compositional thinking as a
strategy for teaching music has become a major
force in countries such as Australia, the United
Kingdom, and the United States. (Webster and
Hickey, 2009, p.379).
According to Ribeiro (2011) the use of Web 2.0
tools may help in the creative process, since
individuals create and perform over the web
contents, taking advantage of the public intelligence.
Araújo (2006) and Palfrey and Gasser (2011) claim
the possibility of new forms of art coming from
Native Digital individuals. Linking to these authors,
it is possible to make creative music pieces through
digital online tools. These tools will be exposed in
the next section, and the online digital resources
produced for the Distance Learning as well.
3 ONLINE DIGITAL
TECHNOLOGIES RESOURCES
AND TOOLS FROM THE WEB
2.0 THE DISTANCE LEARNING
According to Fritsch (2008) the synthesizers were
CSEDU2013-5thInternationalConferenceonComputerSupportedEducation
622
developing in a way an only one musician may
compose in studio, perform and be the only audience
of their own songs. These instruments are currently
found virtually on software.
Given the above mentioned, the computer is the
composition and execution instrument and the studio
as well. With this facility, Webster and Hickey
(2009) show that technological resources may help
music teachers on many contents. They have a quick
review over the studies that have been using this
technology for reinforcement and comprehension of
the music education related aspects.
We believe that this use of music technology can
be a powerful aid for music teachers to reinforce,
extend, and refine the expected development of
music perception, performance, preference, and
creating […] (WEBSTER; HICKEY, 2009, p.383).
Authors classify various software according to:
type, music content and age, from pre-school up to
the adult age level. Among these authors, they point
out the Vermont Midi Project for music creation.
This project was pioneer using internet to facilitate
musical collaboration.
On their conclusions, they point out studies that
consider the use of music technology helps
comprehending, which advances the development
process of music learning and understanding in those
that use it.
Behar at al. (2013) shows other software
examples for the collaborative distance music
composition programs, such as
Music-COMP
2
, used
in the United States. In the educational context, the
author also mentions
Musit Interactive and
jam2jam. According to Seddon (2007), the former
allows sharing the created music files, facilitating
the social exchange among the participants. The
latter,
jam2jam, is a web based system for
improvising, with functionalities that favor social
interactions. (Brown and Dillon, 2007).
Hodges (2001) points that the Information and
Communications Technology (ICT) includes “all
forms of computer-based learning, and recognizes
the importance of the Internet and associated
communication technologies.” (Hodges, 2001,
p.170). As for the use of technologies in teaching, he
mentions about the importance to make a distinction
between training and education. It becomes
necessary because there is a difference between
skills acquisition and conceptual understanding.
Another example that uses ICT in music
education is mentioned by Smith (1999), in the
secondary PGCE music course at Kingston
University. A partnership between “training
providers and schools” has been made, because the
music technology needs to be contextualized with
the classroom and not just developing skills. She
sustains there is a better approach between
“educational theory and its application.” (Smith,
1999, p.197). In this music course “including
delivery of music technology, has acquired an
increasingly holistic emphasis.” (Smith, 1999,
p.197).
Savage (2007, p.65) sustains that technologies
“are transforming approaches to teaching and
learning in primary and secondary schools.” The
author mentions that especially within the field of
music education there were changes. In spite of
having a substantial range of new technologies, their
use was limited due to the fact that it is linked to the
traditional composition and performance.
Seddon and Bisutti (2008) researched about non-
music specialist teachers. According to the research,
non-music teachers usually present low-confidence
to teach music in primary education. It may be
explained because of the belief, especially in the
western culture, that success in music requires inner
talent.
In their conclusions, after the interaction with an
e-learning environment teachers noted that music is
not something special, only for gifted individuals.
Thus, there is a break on the “cycle of low
expectation” and the non-music specialist can
provide opportunities to children to engage in
creative musical activities in classroom. (Seddon
and Bisutti, 2008, p.418).
As indicated by Behar et al. (2013), there are
several online tools in open source for the musical
composition that, although not being developed for
educational purposes, have been used with this
purpose.
Tools as Jamstudio, CODES
3
, MusicLab
4
,
Tonematrix
5
and others have been used in
extension courses in semi-presence and distance
learning subjects at Universidade Federal do Rio
Grande do Sul (UFRGS).
According to Behar et al. (2013) besides these
available tools at the Web, online digital resources
have been in development for the Distance Learning.
Among them are the Learning Objects (LO)
developed by interdisciplinary teams at the Núcleo
de Tecnologia Digital Aplicada à Educação
(NUTED).
Among the LO presented on section 3.1, the
object Digital Music Composition – CompMUS
6
will be detailed, since it was used in the case study
on the present approach, aiming to map the
competences for the music-technology educational
CompetencesfortheMusic-TechnologyContextontheDistanceLearning-AFocusintheUseofOnlineDigital
Technologies
623
context.
3.1 CompMUS: A Learning Object
for the Digital Music Composition
The CompMUS LO is an example of an online
digital resource used in Distance Learning, whose
purpose was to serve as a theory/pedagogical
resource for the mapping of competences for the
music-technology educational context.
CompMUS was developed in accordance to
Amante & Morgado’s (2001) methodology, which
involves four steps: object conception, planning,
implementation and evaluation. This object was
developed by an interdisciplinary team, where the
authors also participate. This object show 4 modules.
Each module refers to an issue pursuant to the digital
musical composition.
In modules 2 and 3 of this object have activities
involving musical composition through
CODES,
MusicLab and Jamstudio tools. For the effect
application and edit, the software Audacity is
recommended. The digital interactive tools
Tonematrix is found in module 4. The activity in
this module consists of creating a podcast episode in
pairs. It must have educational content and a
soundtrack composed by the authors of the podcast
using one or more online digital tools.
4 THE MAPPING
OF COMPETENCES FOR THE
MUSIC-TECHNOLOGY
CONTEXT: A CASE STUDY
Aiming to investigate the competences for the
music-technology context from the musical
composition with the use of free digital tools, the
case study was performed by an extension program
course.
This course, named identically to the LO
CompMUS: Digital Musical Composition for
Education, was one of the tools used for the data
collection.
The classes occurred in semi-presence and
distance basis, with 80 hours’ workload, on a weekly
basis from April until June 2012. Two online
questionnaires were applied, the first one to get
information over the student’s profile, their
knowledge and experience in the music and
technological fields; the second one was to evaluate
the course and the LO. In order to register the
testimonials and students’ compositions the virtual
learning environment (VLE) Rede Cooperativa de
Aprendizagem (ROODA)
7
was used.
Besides the use of the CompMUS LO as
theory/pedagogical support resource during the
classes.
The participants of the course were teachers from
the public teaching network from various levels,
music teachers, tutors, pedagogy and music students,
post-majoring course students and Masters in a total
of 17 students, where 9 were music teachers and 8
non-musicians.
As previously mentioned, the aim of the course
was to develop a mapping of the necessary
competences for the intended context. According to
Brandão and Guimarães (2001), it is a technique
linked to the knowledge management based on the
staff and their functions. As for the function of this
methodology, it is noticed a search for the
identification of the already existing competences
and the development of the necessary ones for an
intended profile on a determined context.
Besides the main target, the study also aimed to
investigate the profile of the participants of the
research; the knowledge and prior experience of
students about the technology and musical areas;
analyze how they organize the sound material when
compounding virtually and how CompMUS LO
contributed to the development of competences for
the intended context.
Based on the data collected, a concept map of the
competences individuals shall develop for the
music-technology context has been developed based
on the results found, and is indicated on table 1.
However, it is proper to mention that many of
these competences form were developed by the
individuals during the extension course.
The importance of the development of
instrumental performance and the Study of Theory
and Musical Perception for the construction of
specialized competences, inherent to professional
musicians, is understood. Nevertheless, we
emphasize that the competences listed are general
ones, meaning they may be constituted by outsiders
in music.
5 CONCLUSIONS
From the experiment performed, we understand that
the use of digital online tools, as the ones used in
this study, used on an integrated basis on virtual
learning environments as well as learning objects,
have potential to support in the development of
competences for the music-technology context on
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Table 1: Competences for the music-technology context from the use of digital technologies. Source: (Rosas and Behar,
2012, p.8)
8
.
KNOWLEDGE
(K)1
SKILLS
(S)
ATTITUDE
(A)
- Know various audio formats
-Make and compound digital music in a
public/ collaborative way;
- Opening to new
sonorities provided by the
digital technologies;
- Know effects for audio treatment;
- Convert audio format, liable of internet
transmission;
- Self-confidence;
- Know the historical pressupositions
of eletroacustic music;
- Setup the computer soundboard according to
the operational system, the software and digital
musical tools to be used as well;
- Capacity to motivate
yourself and motivate
others;
- Notions of simple music form and
structure;
Use online, specially free software and tools
for musical composition and production;
- Proactive (capable of
controlling the structure
and content on the CMD);
- Read and interpret virtual and
multimedia messages;
- Use free software for audio recording,
editing and mixing;
- Flexibility for changes;
- Notions harmony and chords
ordination on the western tonal system
to organize the sounds at musical
digital composition;
- Use Information and Communication
Technology (ICT);
- Be responsible for the
ICT use;
- Install and uninstall musical software; - Autonomy;
- Opening to several
musical languages, from
classical, pop to
contemporaneous.
Distance Learning. The knowledge, skills and
attitude herein presented may be built by teachers,
students and music tutors who own little or no
experience within these technologies or by teachers
and students outsiders in music, who wish to
perform on this context, with or without prior
technological experience.
When making the competences mapping, besides
observing those existing and pointing out the
necessary ones, it was found that part of the
knowledge and competences presented on table 1
were developed at the moment their compositions
were being created, when interacting with
CompMUS, with the teacher and the classmates over
the VLE (Virtual Learning Environment) during the
classes.
We believe continued education courses are
necessary, in order to prepare these individuals to
perform on this context, developing knowledge,
competences and the necessary attitude for the
music-technology context.
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1 Case Study at the Post-Majoring Program in Education at
Universidade Federal do Rio Grande do Sul, Brazil.
2 Music Composition Online Mentoring Program. Retrieved
from: http://www.music-comp.org/.
3 Cooperative Music Prototype Design. Prototyping refers to
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4 http://clubcreate.com/#!/studio/musiclab
5 http://lab.andre-michelle.com/tonematrix
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7 https://ead.ufrgs.br/rooda/
8 Table translated by authors.
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