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2017, Oxford handbooks, ISBN 0199372136, xxx, 700 pages
"Few aspects of daily existence are untouched by technology. Learning and teaching music are no exceptions and arguably have been impacted as much or more than... 
Music | Technological innovations | Instruction and study | Digital citizenship | Educational change | Music literacy | Creative practice | Educational technologies | Evidence-based education | Preservice teachers | Technology skill development | Participatory culture | Sound and place | Initial teacher education | Deterritorialization | Adaptive technology | Distinction | Learners with exceptionalities | Makers | Music learning | Music education curriculum | Africa | Techno-human future | Praxis shock | Long-distance learning | Musical subjectivity | Pop | Twenty-first-century skills | Instrument-making | Universal design for learning | Romanticism | Technological determinism | Finland | Stakeholders | Teacher preparation | Music teacher education | Learning and teaching | Music teacher roles | Problem-finding | Authority | Musicians workshop | Disabilities | Slow music | Collaborative model | School classrooms | Contextual | Innovation | Faculty development | Literacies | Innovative pedagogies | Professional development | Communication | Context | Multimedia | Social | Skill development | Techné | Public health communication | Self-determination | Social technologies | Musically educated | Education technology | Irrelevant | West africa | Out-of-school learning | Curriculum | Place | Power | Participation | Enabling technologies | Humans | Music notation | Totally pedagogized society | European perspectives | Living well with less | Learner-centered | Metaphor | Multiarts | Teaching | Learning | Creative literacy | Networked technologies | Heidegger | Pedagogical fundamentalism | Peer-to-peer learning | Technology and music creativity | Sound recordings | Teenagers | Digital technology | Primary schools | Creation | Technological affordances | Interaction | Behavior change | Parochial practice | English secondary schools | Music teacher preparation | Music technologies | Democratic education | Scepticism | Music technology | Digital audio workstations | Maker space | Technology integration | Technological limitations | Tpack | Mobile learning | Information and communication technology | Internet | Savoring | Teacher attitudes | Practice-led enquiry | Greek education | Postsecondary music education | Teacher resistance | Inclusion | Epistemology | Hip-hop | Administrative technologies | Equity | Risk | Narcissism | Higher education change | Poiesis | Classroom music teaching | Classroom | Community music | Digital pedagogy | Technology traditions | Authentic processes | Autonomy | Children | Music education technology | Popular music | Aristotle | International | Non-formal music education | Composition | Health | Globalization | Pop music | Rhythmic video games | Exploration | Motivate | Learner/musician | Apprenticeship | Higher education | Slow food | Informal learning | Community | Gender issues | Music fluency | Education policy | Autonomy popular music | Credentialing | Education 3.0 | Communities of musical practice | Music education | Prosumer | Technology access | School-based routes | Pre-service teachers | Ict in music education | Musical intelligence | Mediatization | Augmenting music | Local | Disease control | Creativity | Technologies | Technology competencies | Local context | Totally technologized society | Teacher educator | Teaching with technology | Performance | Sociocultural | Digital natives | Texas music education | Guinea | Diversity | Teacher certification | Invention | Ensembles | Implementation | Empowerment | Technogenesis | Well-being | Music teachers’ concerns | Sociology | Musical analysis | Informal music learning | Digital literacies | Pedagogy in-service preservice | Sequencing | Information communications technology | Communities of response | Conservatory model | Tools | Spreadability | Flow | Learning resources | African context | Interest-driven learning | Play | School experience | Pedagogy | Recording | Differentiation | Integration of technology | Policy | Choice | Digital arts | Music teacher certification | Limitations | Passeur culturel | Celebrities | Radical pedagogy | Education | Ofsted | Technology | Learner agency | Electronica | Culture | Musicking | Role of technology | Pedagogical paradigms | Teacher training | Digital culture | Ethnomusicology | Youth | Vulnerability | Pressure | Mobile technologies | Place philosophy | Digital media | Piano | Groove | School music | Internet evolution | Software | Musicianship | Technology use philosophies of technology | Assimilation | Facilitator | Constructionism | New media | At-risk student | Self led development | Music teacher educators | Rhythmic video games music technology | Notation | Music making | Perspective | Music experience | Higher music education | Participatory music | East timor | Music theory | Triple revolution | Portfolios | Ethnography | Futurism | Gcse examination | Music teacher attitudes | West | Fear of change | Digital music | Opportunities | Change | Commodification | Linguistic 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Book
09/2017, 1, Oxford Handbooks, ISBN 9780199372133
Music technology is pervasive in today’s music classrooms, but in many settings it is the teacher who designs the integration, often with standardized learning... 
autonomy | learner/musician | learner agency | Musicians Workshop | culture | technology | technology integration
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