The act of strumming is an essential component of standard guitar technique involving coordinated wrist and arm movement in a rhythmic, pendulum-like motion across multiple strings. Improper mechanics characterized by excessive arm movements can decrease performance efficiency and increase the risk of overuse injuries. This study investigated whether a guitar adaptation (Strum Perfect™) could improve strumming efficiency by facilitating ergonomic motion patterns. A within-subject repeated measures design was used to assess ten guitarists of varying skill levels as they performed standardized strumming exercises at 60, 75 and 90 bpm with and without the adaptation. A validated wrist-worn motion sensor captured kinematic data, including wrist and elbow angles and an orbit coefficient, which reflects the coordination and stability of strumming motion. The adaptation significantly reduced the maximum elbow angle across all tempos ( p < 0.001) and decreased the overall range of elbow motion. At 60 bpm, wrist angle increased modestly ( p = 0.007), indicating greater wrist engagement, although changes at higher tempos were not significant. The orbit coefficient increased significantly with the guitar adaptation ( p < 0.001), suggesting enhanced strumming consistency and motion stability. Similar results were observed during alternating up-and-down strumming patterns. Multivariable analysis further confirmed that the adaptation’s effects were consistent across strumming directions, tempos and levels of expertise. These findings suggest that the adaptation constrains excessive forearm motion and encourage biomechanically healthier strumming patterns. The adaptation may be particularly useful for beginners or for those with difficulty maintaining consistent motion patterns. Further research is warranted to explore its applications among individuals with motor control limitations and to evaluate the long-term impact of its use.
Immersive virtual reality (IVR) increasingly offers opportunities for developing innovative educational resources in varied contexts, including music learning. This study enhances the field of computer-assisted musical instrument tutoring systems by comparing the effects of two types of real-time feedback settings on the performance and cognitive load of novice drumming learners, using a value-added research approach. Participants ( n = 50) were randomly assigned to either the positive-only ( n = 24) or mixed feedback conditions ( n = 26). They underwent a training session in the IVR scenario, followed by a questionnaire and post-test, including an IVR assessment and a real-life performance evaluation. Results during the training phase indicated that participants in the positive-only condition achieved better performance outcomes and experienced less cognitive load. Similarly, post-test results suggested that feedback type significantly influenced learning outcomes. However, additional analysis indicated that students may perceive feedback as intuitive or motivating when well aligned with their expectations, musical understanding or previous experience. Further research on adaptive feedback and longitudinal studies is recommended to corroborate the long-term effectiveness of these technology-enhanced training scenarios.
Maker initiatives in education developed over recent decades through the intersection of DIY culture, the Maker movement and constructionist theories of learning. Scholars in music education have recently advocated for the adoption of ‘maker’ pedagogies to enhance and reshape music learning, link students with emerging technologies and innovative creative practices and integrate music-centred maker technologies to support STE(A)M initiatives. This article draws upon a recent music makerspace study that invited participants to build their own analogue modular synthesizers and learn through the process of instrument building, troubleshooting, testing and sound-making. Using this study, we examine claims about ‘maker education’, address gaps in the research and literature on making and highlight tensions in attempts to translate ‘making’ from authentic informal learning environments to formal ones in educational institutions. Our findings challenge celebratory claims about ‘maker education’ as well as identify missing modalities of learning – forms of practical knowledge, embodied skill, modes of inquiry and co-emergent competencies that are rarely examined or acknowledged in the literature on making. We conclude with a discussion of what aims – and whose purposes – are served when context-specific practices and epistemologies are recontextualized for formal educational environments or retooled to serve academic theory.
This article creates a close and detailed alignment between constructionist accounts of learning from within technology studies, and the activities of DIY music electronics practitioners. Drawing on , the approach to learning described as the bricoleur is detailed as a concrete learning style, working in proximity to objects and attuned to object behaviours. The detailed profile of the bricoleur’s approach, and a nuanced exploration of the relationship between DIY music electronics practice and the opaque technological object identified as the black box, both form contributions to the wider literature on DIY practices within music and technology. Themes of technological affordance and constraint and the implications for accommodation and assimilation in learning are explored. The activities, culture, materials and communities of DIY music electronics are described, and a brief interdisciplinary history and theoretical overview of what can be understood by the black box of technology is provided.
Music education faces the challenge of digitally transforming our pedagogical approaches to enhance teaching and learning. Digital audio workstations (DAWs) have emerged as powerful tools for connecting formal instruction with students’ everyday musical cultures. Positioned within frameworks such as popular music pedagogy, culturally relevant pedagogy, culturally sustaining pedagogy, urban music education and practices like do-it-yourself (DIY) and do-it-with-others (DIWO), DAWs allow learners to engage in culturally situated, participatory music-making. This study investigates the educational potential of Soundtrap, a cloud-based DAW, in teacher education. Using a quantitative, exploratory design, a questionnaire was administered to 289 undergraduate students in early childhood and primary education. Results show that students reported solid knowledge of the platform’s features and perceived meaningful learning gains, though they were less likely to engage in advanced creative functions (e.g. dynamic shaping or tonal changes). Collaboration emerged as a valued dimension, with participants recognizing the contribution of peers while expressing mixed attitudes towards online group formats. These findings highlight the role of DAWs in fostering digital literacy, expanding opportunities for collaborative and culturally relevant music practices and preparing future teachers to navigate technology-rich educational environments.
This study explores the impact of a mobile app on performance achievement, learning motivation and practice strategies among non-music major pre-service elementary teachers practising the Danso , a traditional Korean wind instrument. Seventy-five students participated over seven weeks, with 29 in the experimental group (app users) and 46 in the control group. After the intervention, participants’ performance achievement was assessed, focusing on key musical elements, while learning motivation and practice strategies were evaluated using a modified version of the Motivated Strategies for Learning Questionnaire (MSLQ). The results indicated that the app did not significantly affect performance achievement or learning motivation ( p > 0.05). However, the control group scored significantly higher in the rehearsal domain, a simple repetition-based strategy favoured by beginner learners ( t = −2.116, p = 0.038), suggesting that the app’s influence on practice strategies may vary depending on the learner’s level. This study emphasizes that the use of technology in music practice does not necessarily lead directly to improved learning outcomes, and suggests the need for more in-depth investigation into the effective design and application of digital media that takes into account factors such as age, motivation, level of expertise and the specific demands of musical activities.
This qualitative study employs discourse analysis to examine how learning to play the guitar is discussed and negotiated within an online affinity space centred on Rocksmith , a digital music game. Data consist of posts from the official Rocksmith discussion forum, where participants of varying experience levels engage in conversations about practice and progress. The analysis focuses on how users position themselves as learners, negotiate expertise and provide peer support through interaction, rather than on gameplay or instructional outcomes. Findings highlight how learning is discursively constructed as a socially mediated process characterized by encouragement, shared problem-solving and community-based support. This study contributes to understanding how game-adjacent online communities function as spaces for discussing and supporting informal musical learning.
This article presents a pedagogical intervention aimed at fostering the development of future proactive citizens who are more aware of their acoustic surroundings, using students’ sonic environments as the foundation. The research focuses on evaluating sound perception processes in relation to the personal sound environment, along with the use of digital technologies, such as software for recording, editing, transforming, mixing and playing sounds, as well as group music creation through collaborative work. The study employed a qualitative programme evaluation design to assess the impact of this educational intervention. A total of 21 students, aged 9–10, participated in 30 sessions, each lasting one hour, including classroom lessons and field trips, both in large groups and in work groups. In addition, two pre-service teachers and one external observer were involved. The activities were structured into three distinct phases: sensitization, exploration and collaborative artistic creation. The findings indicate a notable improvement in students’ sound perception, alongside a high degree of integration of collaborative skills. Furthermore, the digital tools used were effective in both developing technological competencies and fostering creativity through sound-based artistic creation.
Access to professional learning (PL) accompanied by digital technologies was a game changer for educators during COVID-19. This was no different for Australian music educators, whose roles were redefined by their use of music technology and information and communication technologies (ICT). In this article the authors present questionnaire data from their ongoing study 'Re-imagining the future: Music teaching and learning, and ICT in blended environments in Australia'. They ask the question: How can using the DELP (Device, Software and Tools; Environment; Learning Focus; and Pedagogy) quadrant facilitate PL to support teacher agency and relevance across diverse learning contexts? Reflecting on a recent paper presentation at the 2024 SEMPRE Music Education Technology Conference (The University of Hull, UK) they refined the previously published DELP quadrant drawing on findings from a Qualtrics survey. The survey was administered across three phases (Phase 1, n = 109, 2021; Phase 2, n = 105, 2022; Phase 3, n = 116, 2023). Using thematic analysis across the three phases of the study, five themes are discussed. From the findings we use the metaphor of a PL caf & eacute; menu where teachers select and consume their PL preferences. We recommend our Music Technology and ICT Caf & eacute; Menu as an effective way for music educators to consume PL providing flexibility, authenticity and agency that is cost-effective regardless of location. We argue that sustainable PL can be provided with more efficiency and relevance when the DELP quadrant and Music Technology and ICT Menu meet the consumption needs of teachers to keep them full and satisfied while nourishing their professional growth. Generalizations cannot be made from this national study as we only focused on music educators, a limitation given the small sample size (n = 330) only focusing on one discipline area. Nonetheless the conceptualization of caf & eacute; menu can be adopted and adapted to other learning areas.
The main aim of this article is to evaluate the academic performance, motivation and level of technological acceptance of preservice primary music teachers. An integrated gamified resource has been designed with course content, based on a gamified system capable of tracking progress and examining academic performance, motivation and technological acceptance of the model created. The study sample comprises 58 music students in the final year of the Primary Education Degree at University CEU Cardenal Sp & iacute;nola (Seville, Spain). The methodology adopted was based on a pre-experimental design with a single group. Pre-and post-test questionnaires were used to measure academic performance, in addition to the Reduced Instructional Materials Motivation Survey (RIMMS) and the Unified Theory of Acceptance and Use of Technology Model (UTAUT) as instruments for measuring motivation and technological acceptance. Results revealed statistically significant differences in both academic performance and student motivation. A significant positive correlation was also identified between level of motivation and technological acceptance. Findings support the effectiveness of gamification as a pedagogical approach to enhance learning and foster motivation in the educational context.
This article presents a pedagogical intervention aimed at fostering the development of future proactive citizens who are more aware of their acoustic surroundings, using students' sonic environments as the foundation. The research focuses on evaluating sound perception processes in relation to the personal sound environment, along with the use of digital technologies, such as software for recording, editing, transforming, mixing and playing sounds, as well as group music Deliveredby Intellect to: creation through collaborative work. The study employed a qualitative programme evaluation design to assess the impact of this educational intervention. A total of 21 students, aged 9-10, participated in 30 sessions, each lasting one hour, including classroom lessons and field trips, both in large groups and in work groups. In addition, two pre-service teachers and one external observer were involved. The activities were structured into three distinct phases: sensitization, exploration and collaborative artistic creation. The findings indicate a notable improvement in students' sound perception, alongside a high degree of integration of collaborative skills. Furthermore, the digital tools used were effective in both developing technological competencies and fostering creativity through sound-based artistic creation.
The present text describes the indicators of a Readability Index for Music: the RIM. These indicators are the result of a model, built based on cognitive and mathematical concepts that assess the complexity of written music. Understanding readability as the ease with which we read a text, the RIM is designed to improve the perception of this feature in written music. Its construction is based on recent literature from music cognition, and it evaluates the syntactic complexity of a musical fragment using tools from information theory, such as Shannon's entropy. The model provides five indicators of complexity in written music. After computertesting and a case study of a fragment of Beethoven's Largo, 'Piano Concerto No. 3', we conclude that these indicators reflect difficulty features in western music; according to the music cognition literature. Also, these show minimal interdependence, as reported in statistical analysis in arts. The RIM is useful for music educators that can now compare complexity in written music, and assess its difficulty more homogeneously.
In this article, the potentials and limitations of student autonomy in an electronic music theory course at a bachelor's programme at a Norwegian University are explored. The article describes a project that aims to develop flexible courses where the students' existing creative practices are the starting point, and where their individual competencies and interests can be combined within the classroom. The reasoning behind the project and its design rests on two premises: (1) there has been a diversification of prior musical knowledge within student groups entering popular music programmes and (2) students, more often than before, are experts beyond their teacher on certain topics. The study is designed as an instrumental case study, and data was generated through qualitative interviews, reflection notes and a full-day evaluation meeting. Findings highlight (1) the importance of balance between student autonomy and teacher agency; (2) the teacher's ability to differentiate between the parts of a course where the primary concern is the amount of student agency vs. those where the quality of student agency is the issue and (3) the importance of not only facilitating student agency but supporting it in a way that supports student actorhood-that is, making the students exer-cise their autonomy.
This article presents the development and evaluation of HandI, a motion-based digital musical instrument (DMI) mobile app, for the musical engagement and expression of children with sensorimotor impairment. HandI uses the smartphone's orientation as the input control for musical expression, attempting to remove sensorimotor barriers and empower such children to engage and express themselves through music-making. An evaluation with music practitioners and caretakers (N = 10) yielded positive feedback on the app's effectiveness in engaging sensorimotor-impaired children with musical games, while also yielding suggestions to improve the control interaction and functionality to better cater to children's diversified learning needs. The findings of this study shed light on the design of human-computer interaction (HCI) and adaptive technology for the musical enjoyment and empowerment of children with functional diversity, helping to create a more equal, diversified and inclusive (EDI) learning environment.
This article explores the uncanny valley in music and how it relates to music technology and music education today. The uncanny valley arises when human observers perceive something as close to human but not quite human. As human observers, our potentially positive perception of something shifts into the negative as it gets very close to being realistically human without hitting the mark. In this article, we cite recent technological advances that enable musical output that may fall into the uncanny valley. We explore how technology today allows for music creation that eliminates human nuance from a composition when parameters like rhythm, tempo and pitch have been heavily processed by computers. As educators and music creators, it is important to acknowledge this fact so that we can better educate ourselves on how to avoid or utilize this musical uncanny valley as desired. This article not only explores the musical uncanny valley as one reason why educators must dig into music technology past the surface level, but it also explores our responsibility to music students. Music teachers today have a responsibility to learn and teach the finer details of using music tech tools in the classroom, so that future music creators have the ability to preserve human nuance in their musical creations.
In the past decade, there has been a significant effort to incorporate maker culture principles and techniques into education. By following the STEAM education perspective, integrating maker movement educational scenarios presents an opportunity to establish a cutting-edge musical-technological learning atmosphere in music classes. This article delves into the results of an educational intervention conducted in a Greek conservatoire centred on a theory of music course. The aim of the research was to design and implement teaching scenarios built on the maker movement within a group of four students aged between 6 and 7 years, using the music educational software Synth4kids and the Makey-Makey interface as the main methodological tools. The primary objectives were to explore the students’ experiences and perceptions of the learning process within this new educational environment and to examine the perceived development of their knowledge and skills. The findings of the pilot study indicate that the students actively and enthusiastically engaged in constructing musical artefacts and immersed themselves in music-making as active participants, leading to the acquisition and transformation of musical and technological skills through meaningful experiences. In short, it is revealed that findings converge with the research activity in the field.
A deep understanding of learning goals in technology-mediated learning is necessary for improving lesson design and student performance. Learning goals form the foundation of classes in all content areas including technology-based music. The purpose of this study was to examine the musical learning goals of several technology-based music classes in the United States and how perceptions of those goals might vary between teachers and students. Data were collected through observations of technology-based music classes and interviews with a teacher and three to four students from each of four varied and geographically disparate secondary schools in the United States. Findings suggest that students and most teachers in this study perceived the learning goals of technology-based music classes to emphasize technological learning rather than musical achievement. Teachers with deeper music technology experience focused the goals of their classes more on musical content than those with less experience. Additional emergent themes included the importance of analytical listening, development of students’ self-confidence and improvement in improvising. Suggestions for further research are provided regarding analysis of students’ project work and further development of educational standards.
The COVID-19 pandemic caused many changes in music education, including an increased use of Soundtrap, a digital audio workstation (DAW), in classrooms around the world. The purpose of this study was to investigate the impact of the COVID-19 pandemic on music teacher engagement with Soundtrap. We invited members of a Facebook community of teachers who use Soundtrap to participate in a survey. Of the survey participants (N = 43), most taught grades 6-12 (n = 33). Few participants had previously used Soundtrap in their classrooms before the pandemic (n = 15), but most stated that they would continue using it after (n = 37). Notable emergent themes were a lack of previous experience using DAWs and the need to learn this technology at the onset of the pandemic quickly. Participants also expressed that students' creativity, collaboration and autonomy were integral to a positive student experience. We suggest that teacher preparation programmes may want to include more coursework on teaching DAW skills and pedagogy.
Beliefs of self-efficacy are an important factor in musical learning, especially in instrumental learning with the help of specific software. As part of a far-reaching study that has sought to design, implement and evaluate a real-time instrumental intonation software (Plectrus), this research project aims to analyse the perceptions of four novice students (10-11 years old; three girls learning the viola and one boy learning the violin) about their self-efficacy during and after practising with such software and to find out whether there is any relationship between these perceptions and musical performance with Plectrus. For this purpose, a multiple case study was developed. The instruments and techniques used were three semi-structured interviews (two with each participant and one with a family member), the observation of recordings of practice sessions with the principal researcher and practice reports on the Plectrus. The results indicate that the participants' self-efficacy beliefs are positive. The analysis of the two interviews shows changes in experience with the software, vicarious experiences (visualization and self-competition) and social influence (other people's possible opinions of a student's performance). Also, positive perceptions coincide with good marks in the software, which supports the theory that positive self-efficacy influences instrumental learning.
The purpose of this study was to examine the opinions of teachers (n = 589) employed in music schools in the Republic of Croatia and the Republic of Serbia on the coping of students in distance learning. The results show that students from both countries, despite facing numerous problems, have successfully coped with the realization of distance music instruction. Teachers also mentioned that students may not achieve the same level of progress in online learning as they do in traditional face-to-face instruction. Teachers from Croatia more often point out that students have all the necessary conditions for successful participation in distance learning and that they regularly perform their tasks. Opinions of teachers from Croatia and Serbia do not differ significantly in terms of time that students invest in performing tasks in distance learning and student satisfaction with conducting distance learning. In order to ensure a better transition of teachers and students in a stimulating virtual environment and to enable the successful achievement of educational goals, it is necessary to achieve changes in both countries that will enable more extensive integration of information and communication technologies in the teaching process. It is also necessary to ensure professional development of teachers regarding the application of new technologies in the educational process.
