I am a composer, producer, pianist and part-time music lecturer at a Further Education college where I teach composing on Music Technology courses at levels 3 (equivalent to A-level) and 4 (Undergraduate/Foundation Degree). A "Music Technology" course, distinct from a "Music" course, often attracts applicants from diverse musical backgrounds; it…

Desktop MCs work in the space of the desktop, choreographing content using multiple applications. For the desktop MC, new technologies allow for new combinatory forms of composition.

As music making and technology grow more entwined, it is important for teachers to become familiar with available hardware, software, Web apps, yMIDI, sequencing, sampling and other emerging products. If music students in today's digital world wish to make a career out of doing what they love--whether as performers or conductors, composers or…

Seeking understandings of the relationships children have with electronic environments is needed in order to continue to develop our understandings of what children are doing in those environments and why. This paper looks at the musical compositions of children in an electronic environment and attempts to demonstrate how those compositions are as…

The paper considers the innovations and impacts of technology on the fine arts. It explores the effect of technology on how music is taught, studied, performed and created. There is a brief historical account of the recent advances in personal computers, MIDI, synthesizers and music software. The standard of technology competency, set by the…

Explains that after the Columbus (Georgia) Symphony was awarded a National Endowment for the Arts grant for American music, the symphony director gave a portion of the money for an elementary music composition class that utilized computers for two reasons: (1) students could get immediate feedback; and (2) the computers provided motivation. (CMK)

Asserts that a revolution has been occurring in musicology since the 1970s. Contends that music has change from being only a source of emotion to appearing more open to science and techniques based on computer technology. Describes recent research and other writings about the topic and provides an extensive bibliography. (CFR)

Discusses the importance of applying computational modeling and artificial intelligence techniques to music cognition and computer music research. Recommends three uses of microworlds to trim computational theories to their bare minimum, allowing for better and easier comparison. (CFR)