The forty-three contributors to ‘The Oxford Handbook of Technology and Music Education’, edited by Alex Ruthmann and Roger Mantie, represent a diverse group of distinguished and emerging international music educators. Savage (p.149) aptly expresses the thematic direction of this collection in reference to the moment in Alice in Wonderland where Alice asks ‘Would you tell me, please, which way I ought to go from here?’ (Carroll, Reference Carroll1920, p.90). Each chapter promotes a contrasting perspective, not by telling music educators which way to go, but in asking ‘does anyone know which way we are going? Does anyone know where we want to go? Does it matter where we end up?’ (p.149). The transformative, and often disruptive, impact of technology in our rapidly changing and uncertain educational landscape is discussed across the interlinking chapters. In doing so, music educators are challenged not to shrink from embracing these changes, but to allow their conceptions of musicality to grow.
The sixty-three chapters are arranged into four parts: ‘Emergence and evolution’, ‘Location and contexts: social and cultural issues’, ‘Experiencing, expressing, learning and teaching’ and ‘Competence, credentialing, and professional development’. The discourse and critical examination offers neither an endorsement or denunciation for a particular set of musical, technological or pedagogical practices. It does, however, recognise how new modes of social and cultural engagement have merged the boundaries between different disciplines and transformed our interactions with musical teaching and learning. The initial themes cover the ubiquity of screens, the different meanings of technology, technological determinism and the notion of technology as a tool. Roger Mantie discusses how the definition of being ‘a musical person’ may no longer be defined by the ability to actually make music (p.21). He argues that commodification, and the blurring of boundaries between professional and amateur musicians, has empowered the consumer as a producer (or ‘prosumer’), impacting what is meant by being musically educated. The historic relationship with music and technology is identified by David Williams, who suggests ‘we are a profession of old, perhaps even ancient technology’ that has been ‘hurt by resisting change’ (p.82). However, Marina Gall (p.37) justly recognises that the focus of many music teachers is on preserving the place of music in schools (Aróstegui, Reference Aróstegui2016), and the discussion of technology and education may appear less urgent in the current situation (Daubney and Mackrill, Reference Daubney and MacKrill2018). Classroom innovations, she argues, are less likely when teachers are ‘hounded by league table and exam results’ (p.42).
Global perspectives of technology and music education are considered, exploring disadvantaged populations, remote locations and the digital divide. Kylie Peppler (p.191) and Joseph Pignato (p.203) consider the impact of learning in the hybrid spaces between home and school, and the problematic gap between the ‘promise’ of technology and the realisation of that promise in formal music education. A pressing concern, identified by Heidi Partti (p.257), is in ensuring that teachers have the breadth of knowledge and skills required in our rapidly changing world. Ethan Hein (p.237) questions if we should embrace our students’ interests and priorities, or direct our students’ attention to the most worthwhile activities. However, Heidi Partti (p.257) reminds us that digital music culture is just as much about new understandings of learning and the development of musicianship as it is about new technological tools and innovations. This is evident in the exploration of the role of music in public health education and the production of ‘Ebola songs’ to raise awareness and to generate funds for Ebola relief efforts by Carlos Chirinos-Espin (p.329).
The changing conceptions of what it means to be a composer, performer and listener are explored in vignettes presented by Evan S. Tobias (p.431). Wearable technology envisioning an interface between acoustic instruments highlights the potential for technology to reimagine our musical future. Other vignettes offer insights into the nature of performance and ‘audience’ in online spaces, hybrid ensembles and online music communities. These ideas reflect the perspectives of Barbara Freedman (p.367), who stated that ‘technology changes society, society's needs influence education, and history repeats itself’. As Gillian Howell (p.449) identifies, this is problematic because culture and norms in the modern world often change faster than those of institutions like formal schooling. Michael Medvinsky (p.463) recognises that new teachers cannot be taught everything they will need for their whole career, highlighting the importance of continually developing our teaching practices. The definition of ‘informal music learning 2.0’ provided by Janice Waldron (p.475) recognises a future for music education where some practices will become obsolete and others will expand, while entirely new ones will emerge.
An examination of the role of commerce and industry on teaching, alongside the culture of teachers and schools is also provided. David A. Williams (p.633) highlights that Jazz was over 50 years old before it became an ‘accepted’ form within formal music education. Similarly, the guitar only became a ‘sanctioned’ mode of musical engagement at the same time that its dominance in popular music began to wane. Evangelos Himonides (p.619) states that educators need to be able to harness every creative practice available to them in order to ‘polish old tools’ and ‘forge new ones’. However, Marina Gall (p.569) recognises that many teachers do not have the time to ‘consider, invent and implement’ new ideas, leading to the danger of competent teachers at the start of their career becoming the ‘ossified teachers of tomorrow’.
Offering insightful perspectives from a range of positions, this comprehensive collection of articles offers practitioners and academics alike much to consider. Smaragda Chrysostomou recognises that new technologies represent ‘a fraction of a much larger social and cultural change’ (p.107). These transformations contribute to the increasingly uncertain place of music in 21st century education (Humberstone, Reference Humberstone and MOOC2017). Just as Alice reminds us that ‘It's no use going back to yesterday, because I was a different person then’ (Carroll, Reference Carroll1920, p.155), the authors prompt a review of our conceptions of technology in education. Ultimately, this book explores the possibilities ahead for a music education which aims to reflect the best of a rich traditional past while firmly looking towards the future.
