{"id":257101,"date":"2026-07-13T15:18:31","date_gmt":"2026-07-13T12:18:31","guid":{"rendered":"https:\/\/1kitap1.com\/en\/creativities-in-music-learning-gary-e-mcpherson\/"},"modified":"2026-07-13T15:18:31","modified_gmt":"2026-07-13T12:18:31","slug":"creativities-in-music-learning-gary-e-mcpherson","status":"publish","type":"post","link":"https:\/\/1kitap1.com\/en\/creativities-in-music-learning-gary-e-mcpherson\/","title":{"rendered":"Creativities In Music Learning – Gary E McPherson"},"content":{"rendered":"
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Since then, a plethora of groundbreaking inventions have emerged (such as the personal computer, the Compact Disk (CD), computer-based word processing, the iPad) that have revolutionized many people\u2019s lives and have also had a great impact on music, music performance, and music education (including analogue synthesizer technology, such as the Theremin, the electric guitar, the tape recorder, the MIDI protocol, Guitar Hero) (see fig.<\/p>\n

8.1). This timeline, although potentially informative, provides a rather myopic view of our musicking\u2014but also technologically evolving\u2014humanity. Technologies such as the Apple iPad (the \u201cnow\u201d) appear as too distant from other technologies that are still being widely used in a music education context such as paper, the piano, and the metronome (i.e. the \u201cthen,\u201d the \u201cnon-technological,\u201d the \u201ctraditional\u201d). Table 8.1 The musicking humanity\u2019s timeline in numbers, including the hypothesized and evidenced contributed percentage for each technology.<\/p>\n

Year % of hypothesized lifeline % of evidenced lifeline Homo genus \u2013 \u2013 Homo Sapiens 8.410 \u2013 Modern Human 5.496 \u2013 Neanderthal flute 3.498 \u2013 Aurignacian period flute 1.957 55.958 Produced paper 0.038 1.083 Pipe organ (stop action) 0.025 0.727 Piano 0.013 0.370 Tuning fork 0.012 0.357 Metronome 0.008 0.233 Silvered-glass mirror 0.007 0.209 Thomas Alva Edison\u2019s Phonograph 0.006 0.160 Theremin 0.004 0.108 Electric guitar 0.003 0.094 AEG Magnetophon K1 0.003 0.090 Apple II 0.001 0.040 Red Book Compact disk Audio 0.001 0.037 0.001 0.036 0.001 0.035 Microsoft Word 0.001 0.033 Audacity 0.000 0.014 Facebook 0.000 0.008 Guitar Hero 0.000 0.007 iPad 0.000 0.001 By simply looking at the evidenced departure for human musicality, when the Aurignacian period flute was created, we begin to realize really how contemporary to each other are all those other technologies that appear to be distant (fig.<\/p>\n

8.2). Things appear to be even clearer when we broaden the focus, either to the debated origin of the Neanderthal flute, or the hypothesized beginnings of human musicality with homo sapiens, or\u2014dare we say\u2014the beginnings of genus homo (fig. 8.3). The timelines presented above, therefore, beg the questions \u201cWhere exactly is the threshold past in which Music Technology exists?\u201d \u201cShould everything before this threshold be perceived as mainstream and\/or non- technological and why?\u201d \u201cWhy does music technology often exclusively translate to recording, composing and producing music using a personal computer and other digital tools?\u201d<\/p>\n

\u201cHow has music education really been affected by each of the above pictured technological developments?\u201d A great deal of music-making (everything apart from singing, presumably) uses technology of some type or another.<\/p>\n

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Oxford University Press is a department of the University of Oxford. It furthers the University\u2019s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. \u00a9 Oxford University Press 2018 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization.<\/p>\n

Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Names: McPherson, Gary E. | Welch, Graham (Graham F.) Title: Creativities, technologies, and media in music learning and teaching : an Oxford handbook of music education, Volume 5 \/ edited by Gary E.<\/p>\n

McPherson and Graham F. Welch. Description: New York, NY : Oxford University Press, [2018] | Includes bibliographical references and index. Identifiers: LCCN 2018002747| ISBN 9780190674564 (pbk. : alk. paper) | ISBN 9780190674588 (epub) Subjects: LCSH: Music\u2014Instruction and study\u2014Technological innovations. | Music\u2014Instruction and study\u2014Social aspects. Classification: LCC MT1 .O935 2018 | DDC 780.78\u2014dc23 LC record available at https:\/\/lccn.loc.gov\/2018002747 OceanofPDF.com CONTENTS Contributors Introduction to Volume 5 PART 1 MUSICAL CREATIVITY AS PRACTICE Part Editor: Pamela Burnard 1.<\/p>\n

Commentary: Musical Creativity as Practice Pamela Burnard 2. Empathy and Creativity in Group Musical Practices: Towards a Concept of Empathic Creativity Ian Cross, Felicity Laurence, and Tal-Chen Rabinowitch 3. Intercultural Tensions and Creativity in Music Eva Saether with Alagi Mbye and Reza Shayesteh 4. Communal Creativity as Sociomusical Practice Eleni Lapidaki, Rokus de Groot, and Petros Stagkos 5. Assessing Creativity in Music: International Perspectives and Practices Samuel Leong, Pamela Burnard, Neryl Jeanneret, Bo Wah Leung, and Carole Waugh 6.<\/p>\n

Creativity in Partnership Practices Bernadette D.<\/p>\n<\/blockquote>\n

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.<\/em><\/p>\n

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