Digital technologies have infiltrated many of the ways we produce and consume music. They have provided an increased level of access to music making, creation, production and sharing – anyone with access to a computer (or a tablet or phone!) can, for example, explore music and musical processes without the need for a ‘teacher’. Many music teachers have recognised this and have long since embraced digital technologies in an effort to reflect ways in which music is produced and consumed by many students, and stem their classrooms drifting away from the ‘main’.

This is a good thing… when it is well considered and focused on the embodying of music and musical processes; however, digital technologies can be a double-edged sword. When they are not utilised in a considered and purposeful manner, the other edge of our sword can swing back dangerously close to us, and the result can be damaging to our musical and educative intentions.

In no way am I advocating the removal of any digital technologies from the music classroom, just careful consideration in their use. I worry when digital technologies are seen as the ‘silver bullet’ to music education.

The following quote gets to the heart of my concerns:

“Technology does not necessarily improve education. Take the pencil, one can use it to write a superlative essay, or drum away time, or to poke someone’s eye out. The best TV has educated thousands, yet the daily network offerings have dulled the sensitivities of millions…”[i]

Indeed. Considered, purposeful and informed application of digital technologies in the music classroom is crucial. Unfortunately, on several occasions I’ve seen digital music technologies employed as, essentially, a ‘babysitter’ – perhaps dulling, rather than educating.

I adore the new capabilities that these technologies can bring to the classroom; the expansion of possibilities and musical realisations is really quite exciting. However, I do fear that they can – again, if not appropriately considered – erode some skills that are fundamental to musicianship; we can lose the ‘music’ out of ‘music technologies’. As Thwaites argues, we may educate technically rather than musically.[ii] This is something we need to be mindful of – at the end of the day we are music teachers.

A few years ago I stumbled across Russell Ackoff’s ‘mental model’ that has become known as the ‘DIKW Hierarchy’.[iii] Ackoff presents data, information, knowledge, and wisdom (DIKW) as structurally and functionally related complements of the mind – each a type of ‘building block’ that constructs our ‘knowing’ of something. Though this model has been adopted by many fields, and potentially ‘stretched to suit’ (something I am likely about to do too!), I see many similarities between the DIKW model as processes of the mind and the way in which we engage in learning with digital technologies in the music classroom.

Through a musical lens, data are the isolated, analytical ‘bits’ that comprise music – perhaps a note or a gesture, for example. At this level of knowing, data are essentially meaningless pieces of information. I see information as when these data are combined to form something meaningful and clear to our mind – we can make sense of the ‘bits’. This, for example, might be the data of a crotchet in association with a 6/8 meter (which would have a different value if associated with a 4/4 meter); or, data might be made clear by a frame of reference, say, a note (data) on the second line of a treble staff which provides the reference point (information) for the pitch of that note. I see knowledge as what we know about using these combined pieces of musical data and information in meaningful ways, to communicate a musical thought. These ‘building blocks’ are linked by understanding – an understanding of how each ‘block’ links and builds upon the one beneath. Perhaps then, wisdom, is an informed application of these collective understandings – the how, when to, why to… of making our musical statement. Together, these ‘building blocks’ can potentially provide a robust understanding of the phenomena of music as act as a frame for informed musical output. (I apologise if I have strayed too far!)

What role do digital technologies play in assisting us assemble the DIKW ‘building blocks’? One answer is, quite a great deal! Can some uses of digital technologies weaken the footings of our mental (and musical) ‘building blocks’? I think they potentially can – when they are used in ill-considered ways (for technical rather than musical purposes) – and herein lies our double-edged sword.

If we take, for example, students creating an EDM piece in GarageBand at the most basic level – dragging and dropping pre-made loops into place. Where is the ‘data’ located? What about the ‘information’? Within the inner workings of the computer? What do we (our students) know of this data and information musically? Are our two bottom and foundational ‘building blocks’ removed from our mind? A lot of questions, I know! I guess I am getting at the potential limitations to our understanding if musical data and information is hidden from view and from the mind. If the computer is the holder of the data and information, does this limit what we know and can say musically? Are we building our knowledge of (and in) music on shaky ground? Though musical data and information in themselves will not allow us to make music, I feel that an understanding of them is crucial in us being able to ‘say more’, and to enable us to take these data and information into new contexts to create new knowledges. Going back into our GarageBand EDM piece, can we get in ‘deep’ enough to understand the data and information and what it is saying? We can, but again, this is the place of considered educative intentions. To borrow again from Thwaites, we can if we educate musically.

Perhaps I have revealed myself a traditionalist, or opened a controversial ‘can of worms’! At the end of the day I try to teach music and I use many tools to do this, and very often they are digital technologies! Thinking out loud in this way is important to me. Through writing this post alone I have reflected upon areas in which I could improve the way I use and get the students to use digital technologies to heighten their musical understanding and demonstration of their musicianship. Hopefully any following commentary from other music teachers further informs my position, or shows me something new.

For now, however, if we take digital music technologies as a double-edged sword, then I believe that it can be a very powerful weapon if used carefully and in a considered manner. Which side of sword do you wield in your classroom?

What are your experiences with digital technologies in your music classroom? Have you noticed any of the concerns that I have voiced? How have you overcome them?

 

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[i] Veenema, S. & Gardner, H. (1996). Multimedia and multiple intelligences. The American Prospect, Winter, 69-75.

[ii] Thwaites, T. (2014). Technology and music education in a digitized, disembodied, posthuman world. Action, Criticism, and Theory for Music Education, 13(2): 30-47. Retrieved December 30, 2015, from http://act.maydaygroup.org/articles/Thwaites13_2.pdf – this is a brilliant paper that goes into great depth! Well worth the read!

[iii] See http://www.systems-thinking.org/dikw/dikw.htm for a helpful summary of Ackoff’s DIKW Hierarchy.