Teaching with Technology

This article explores the differences and effectiveness of two music technology courses at the UK Open University (OK OU).  The two courses are TA225 The Technology of Music, and its newest and expanded version, TA212. 

The reasoning behind the expansion was the need for more cross-disciplinary content, which included three additional components:  background knowledge; music knowledge; and, technology.  Both the development and use of technologies for musical applications require different levels of expertise, and knowledge of core topics traditionally located across disciplinary boundaries.  Thus, the necessary additions were made to facilitate more expansive knowledge sets related to music technology.  As a result, TA212 (the expanded version) included professors from across different disciplines: science, electronics and engineering, ICTs, manufacturing technology, music, and physics. 

The original course devised a three-part block structure.  The first covered the basics (acoustics, psychoacoustics and music theory); the second examined musical instruments (including voice and electronic instruments), and the third covered sound recording and processing (desktop sound processing and MIDI).  The expanded course developed a five-part block structure.  The first block expands on the ‘Music Primer’, a program that students will use through the course; blocks 2-4 are similar to the TA225 structure which introduces the basics of music notation and theory in block one, musical instruments in block two and sound and recording processing in block three; and, the final block expands on work carried out throughout the course, providing further exploration of the course software in preparation for the final project.   

The expanded course also provides a multitude of support for students.  This support system is referred to as a Supported Open Learning (SOL) framework, which includes face-to-face tutorials, asynchronous online support, course-wide conferences using the University’s system, and peer-tutoring.  Additionally, students have the opportunity to engage in online conferencing through ‘Café’ an informal chat; a ‘Course Discussion’ and ‘Course Assessment’ for self-help among students.  Finally, students have access to a number of resources disclosed on a password-protected website, which includes a ‘news’ area containing information on the latest technological developments and important announcements. 

Course assessment also changed as a part of the expansion.  For TA225, the course assessment was assignment-based, comprised of four short, question-based assignments, and a final exam.  The design of the exam was similar to that of in-text activities based on the teaching text and associated with specific learning outcomes.  The TA212 exam was replaced with a final project, and a series of tutor-marked assignments and small projects. 

Based on student feedback, administrative review and professor assessment, the TA212 proved to be more of a successful course.  The main reasons were related to the differentiation between the block structure, which in the TA212 included more introductory and preparatory components to assist students in the mathematical components of the acoustical work and musical knowledge, as well as the addition of the final project for application of learned material throughout the course.  The other comment referred to the amount of support in the TA212 course, which allowed students to connect and work together through their challenges related to course material and final projects.  The support of the online resources also proved beneficial for encourage more advanced students to pursue more challenging projects. 

These types of courses prove challenging because of the diversity of disciplines within the classroom.  The expanded courses addresses these challenges by creating a more inclusive knowledge basic and support system to assist less advanced students and challenge more advanced students. 

Ferreira, G. (2007).  Crossing borders:  issues in music technology education.  Journal of Music,

          Technology, and Education.  (1)1, 23-35.  doi: 10.1386/jmte.1.1.23/1