Instructional design—the process by which teachers align learning outcomes, teaching strategies, and assessments—benefits students by facilitating directed, intentional learning (Bauer, 2020). While instructional design is not a relatively new concept in education, the methods that educators employ in their teaching have become significantly more diverse with the conception of new technologies. For instance, the traditional chalkboard was replaced by the dry erase board. Now, the dry erase board is becoming obsolete to SMART Boards and other touchscreen devices. Even instructional methods are changing with the rise of virtual learning and video-lectures. Modern education consistently employs new innovations for a variety of reasons.
How can technology affect instructional design in a musical setting? First, technology can be implemented in the learning outcomes, assessments, and activities. This follows the SAMR model that conceptualizes the utilization of technology into four categories: substitution, augmentation, modification, and redefinition (Bauer, 2020). Substitution and augmentation explain how technology enriches activities while modification and redefinition are thought to transform the original standards or instruction. Music education curricula are usually based on the National Core Music Standards provided by NAfME (National Association for Music Education). These standards are related to the creating, performing, and responding processes. To introduce technology, students could create a piece using a DAW, perform a work using MIDI controllers, or listen and respond to music on streaming services (to name a few examples). Additionally, the International Society for Technology in Education (ISTE) has standards that sequence learning activities and expectations for technology use. The outcomes are student-centered and pertain to a variety of technological uses (Bauer, 2020). Teaching students to be independent composers using a variety of software and hardware would align with many of ISTE's standards.
The aforementioned learning outcomes can be assessed with technology, also. With highly accessible platforms such Google (i.e. Classroom, Forms, Slides), LinkedIn Learning, and many others, teachers can create assessments with ease. Music teachers can use these platforms to accept students' performance video submissions or audio projects. Programs like SoundCloud even allow users to comment at specific points of a composition. Other programs like SmartMusic can detect student errors in pitch or rhythm and provide immediate feedback for students.
One of the most influential ways technology can be incorporated in curriculum is through the activities students participate in and learn from. Using technology in this manner may seem non-traditional but it affords students with the opportunity to engage in individualized music activities (Bauer, 2020). Where ensemble settings are structured to provide direct instruction, technology-based projects are centered around differentiated instruction. Students can create in ways that exhibit their musical tastes in conjunction with project requirements. Such projects might include exploring and responding to an unfamiliar genre, composing a short piece, or embarking on a WebQuest. Aside from offering parameters and suggestions, the teacher's role should be minimal in these projects.
When creating resources, it is important to remember copyright laws. The accessibility of materials has been improved due to the Internet. However, with these privileges arise the propensity to use others' work without proper citations and permissions. Photocopies and creating original arrangements of music are two major pitfalls that music educators must avoid. However, works in the Creative Commons and public domain can be used without penalty. The fair use law, though sometimes unclear, describes situations where it is acceptable for educators to use copyrighted materials. Educators must be well-informed before designing units with someone else's work.
All in all, the mindset and means of instructional design are developing quickly. Modern music education should engage students by using technology to create, perform, and respond. Similarly, musical genres that rely on technology should be explored. If students are expected to learn historical works, why should they not be exposed to mainstream musical media? To reach students who might have no other interest in music, music educators must adapt. The resources available—whether free, purchased, or one's original creations—should encourage any music teacher to expand their instructional design horizons.
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