A Case Study of the Creation of a Technology-based Music Course

Author(s): Richard J. Dammers

Source: Bulletin of the Council for Research in Music Education , FALL 2010, No. 186
(FALL 2010), pp. 55-65
Published by: University of Illinois Press on behalf of the Council for Research in
Music Education

Stable URL: https://www.jstor.org/stable/41110434

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Bulletin of the Council for Research in Music Education ©2010 Board of Trustees
Fall 2010 No. 186 University of Illinois

A Case Study of th
Technology-based M
Richard J. Dammers
Rowan University
Glassboro, New Jersey

ABSTRACT
This study examines the process, motivations, and conditions surrounding th
school music technology class. The process was initiated by Steve, the school
wanted to reach a broader portion of the schools population. The process was f
the districts assistant superintendent, who believed in technology s ability to
in the importance of the arts in education. While Steve was able to address
concerns of scheduling and space, Diana was able to provide monetary suppo
grant funding. This study confirms and clarifies that technology-based music
ated by individual teachers, who believe that technology provides an opport
population of secondary students.

INTRODUCTION
For over forty years, music educators have been looking toward inc
ogy into instruction. Calls for utilizing music technology exten
Tanglewood Symposium (Choate, 1968) and have been ongoi
MENC, 1999; Reese, McCord, & Walls, 2001; Reimer, 1989; Richmond, 2005;
Rudolph, 2004; Spearman, 2000; Williams, 2007; Williams & Webster, 2006; Willman,
2002). Incorporation of technology into traditional music instruction has been a steady
but slow process (Reese, 2002). In the past decade, as technology-based music classes
have become more common (Dammers, 2009), music technology has become a means
to address another long standing issue in music education in the United States: the
limited number of students who study music at the secondary level.
A stable feature of music education in the United States is an inverted pyramid of
participation in school music programs (Williams, 1987), where there is broad, if not
full participation in general music programs at the elementary level, and decreasing par-
ticipation in performing ensembles through middle and high school. The Tanglewood
Symposium report notes that 20% of high school students in 1967 participated in their
schools music programs (Williams, 2007). In a study almost forty years later, Edwards
(2006) surveyed four large and geographically distant states, and found that 82% of
secondary school students were not enrolled in performance music programs in their
schools. While the actual percentage of students studying music at the secondary level

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Bulletin of the Council for Research in Music Education Fall 2010 No. 186

may vary over time and geographic area, it seems clear that secondar
ings, which are primarily performance-based, reach a minority of
population.
Williams identified several aspects of the non-traditional music students who do
not participate in band, choir, or orchestra. A non-traditional music student is:
In 6th- 12th grade, does not participate in traditional performing ensembles,
may have a music life completely independent of school music, may or may
not play an instrument (if so, likely drums or guitar), may or may not read
music notation, may be unmotivated academically, and may claim to 'hate
music' (Williams, 2008, slide 28)

Green (2002, 2008) has proposed reaching these students through an approach of
informal music learning, drawn from the garage band (informal rock ensemble, not
the software product) experiences of popular musicians. Responding to Green, Allsup
(2008) points out the need to consider style (popular vs. classical) separately from
learning approach (informal vs. formal). Technology-based music classes offer flexibility
along both continuums, which may allow these classes to be well suited to reach those
non-traditional music students.

While music teachers have expressed high levels of interest in music technology,
incorporation of technology into traditional music instruction in the United States
has been generally slow (Dorfman, 2008; Reese, 2002; Reese & Rimmington, 2000).
The focus of the music education technology community (through organizations such
as Technology Institute for Music Educators) has been largely on developing music
technology skills to allow teachers to incorporate technology into existing music class
settings. Technology integration has been more frequent in general music settings than
in performance settings (Jinright, 2003; Reese, 2002).
Research on technology and music instruction has generally focused on the efficacy
of utilizing technology within the context of traditional music instruction (Webster,
2002). Research specifically focusing on technology-based music classes is less extensive.
Ruthmann (2006) conducted a case study of a middle school technology-based music
class. While focusing primarily on considerations of student and teacher agency within
this class setting, his study also addressed the creation of the course. One of the subjects
of the study, (the music technology teacher) details a process of aggressive advocacy to
create the music technology class and lab. Through perseverance (up to the point of
hinting that she might leave the school district), this teacher was able to appeal to the
school's administrators' beliefs in the value of technology, and to a lesser extent their
support of the arts, to successfully expand the music curriculum.
In a 2007 survey of New Jersey high schools, 28% percent reported offering
technology-based music classes, 70% of which had been created in the last decade. The
population for most of these classes (80%) consisted of non-traditional music students
(i.e., students not in band, choir, or orchestra). Anecdotal responses indicated that these

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Dammers Technology-based Music Course

classes were often initiated by individual music

by an administrator or other outside cause or
Stake (1995) states that one purpose of case s
understandings from previous studies. The pur
picture of the phenomenon reported in the New
conditions and motivations that led to the app
at one particular high school.

METHOD
A case study approach was utilized in this project. The process of creatin
selected as a confirming case (Patton, 2002), as this school is drawn fr
tion studied in the earlier survey study (Dammers, 2009). The selection
also an instance of convenience sampling, since the school was access
happened to be instituting their first music technology course durin
school year (Patton, 2002).
Transcribed interviews were the primary source of data in this study
views were conducted at the beginning of the 2009-2010 school year.
were semi-structured, following interview guides developed from the in
ing questions of the study (Kvale, 1996). Each interview was transcr
using HyperResearch software (Research Ware, n.d.), by the categories
information, conditions, and motivations. The initial interview tran
reviewed by and discussed with two experienced music education resear
up round of interviews was conducted after the initial analysis of th
to clarify and confirm themes that emerged after the initial analysis.
(Patton, 2002) was established through member checks (Stake, 1995)
ducted after each interview, and triangulation between each of the inter
observations made during visits to the school.

SETTING
The class studied in this case study was created at a high school in N
an enrollment of approximately 1,200 students. Entering its 50th yea
secondary district consisting of a middle school and high school) draw
two small townships in an agricultural region. While the district has
population density and proximity to a major metropolitan area cause t
classified by the National Center for Educational Statistics (NCES) as
The population is mostly white and middle class. Eighty-two perce
school students were white, 12% black, with the remaining six percen
Asian, or American Indian (NCES, 2009). New Jersey classified the distri
expenditures per pupil spending of $13,500 in the 2005-2006 school ye
third lowest of the eight-tier classification of socio-economic status of s

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Bulletin of the Council for Research in Music Education Fall 2010 No. 186

the survey of technology-based music classes in New Jersey, 14% o

found to have such classes, well below the state-wide average of 28
Twenty-one percent of the students are eligible for free or reduced l

Music Program
Center High School (the name of the school and participants are pseudonyms) offers
band, two choirs, and two levels of music theory in its music curriculum. The program
has a moderate level of enrollment, with 60 students in band, 105 in choir, and 10 stu-
dents in music theory. This represents 13% of the total school population. Additionally,
the school offers an extra curricular marching band, jazz band and musical, largely pop-
ulated by the same students who are in the curricular music classes. The band director,
Steve, who was central to the creation of the music technology class, teaches the band
and theory classes, while his colleague Sarah teaches the high school choir and travels
to the middle school to teach the middle school band. A third teacher in the district

teaches the choir and general music exploratory classes at the middle school.

Participants
Steve entered his 21st year of teaching when the technology class was first offered. He
has taught elementary general music, jazz bands, marching bands, and concert band.
After moving through several positions early in his career, Steve arrived at the Center
School District, where he has been the band director for the past 16 years. His duties
included the concert band, pull-out instrumental lessons, music theory, as well as the
extra curricular marching band, jazz band, and musical. Steve still performed as a saxo-
phonist, collects saxophone quartets, and has a passion for the music of Ralph Vaughn
Williams as evidenced by his membership in the Vaughn Williams Society.
Steve did not have a particular interest in technology until college, where an
early music notation program caught his interest. This trend has continued, as Steve,
who describes himself as a self-taught music technology user, explored programs that
caught his interest at in-services. He is a member of the Technology Institute for Music
Educators (TI: ME) and participates in their state-level events.
Steve is highly visible in the regional band community. He is present at every district
band event and is a part of that small core of dedicated volunteers that such organiza-
tions typically rely upon. I came to know Steve from his role in the district band orga-
nization and as a cooperating teacher for student teachers. It was through those visits
to his classroom that I became aware of the establishment of the new technology class,
and that his consistent enthusiasm for district events extended to his classroom as well.
Diana, the other participant in the study, holds a similar view of Steve, saying "I
love to watch Steve teach because he is so enthusiastic." In her role as the district's assis-

tant superintendent, Diana is responsible for the curriculum and instruction practice
within the district. A graduate of the same nearby college as Steve, Diana joined the

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Dammers Technology-based Music Course

Center School District thirty-one years ago as an E

room to be a vice principal and principal, she ha
superintendent, which she refers to as "the best jo
holds teachers in high regard, saying "They are t
This support comes with similarly high expect
she discusses numerous initiatives in the distric
in which she involves teachers and credits them f

Course Proposal Process

The initiation of this class was a two-year proce
Steve, who viewed such a class as a way to expan
ment. Diana responded positively to an initial di
if the course could be worked into a three-year vo
could be used to provide the needed equipment. D
responded to the district's annual call for new co
as an entry-level course to a three-course sequenc
and AP music theory courses), so that it would b
posal went to Diana, who, as the primary review
proposal with the curriculum supervisor and prin
was viable in terms of enrollment and content,
for staffing, budget, and equipment with the dist
intendent. After determining that the music tech
was submitted to and approved by the educati
November. From Steve s perspective, the proces
Diana, who took care of the details of shepherdi

FINDINGS

Teacher Initiated
This class was created in a bottom-up fashion with the idea and proposal coming from
Steve (the band director) and support coming from Diana (the assistant superintendent).
This concurs with the anecdotal findings of the New Jersey survey, in which respondents
indicted that the music technology classes at their school had been started by either
themselves or a prior teacher. While the Center administration was supportive, this class
proposal was not the result of administrative prompting or a top-down mandate.
While Steve initiated the class, this process did not occur in a vacuum. A conducive
environment for creating the class was created by Steve's exposure to music technology
and by a district that encouraged curricular innovation. While describing himself as
having self-taught music technology skills, Steve described a pattern of responding to
software environments:

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Bulletin of the Council for Research in Music Education Fall 2010 No. 186

In 200 1 I went to an NJMEA workshop on Sibelius, was intrigu

made the switch. That really opened up my eyes to so many o
that were out there. I really wasn't into the recording aspect, bu
doing a lot of the technology in terms of music arranging. A
things that Sibelius offers - Aurelia, Musician, StarClass I real
get into. I found that Aurelia was great for my theory kids and
do a lot of ear training. And then when Apple came out with
I played around with it a little bit, wasn't really into it, but I
might be a really cool way to get the non-music kids in my
come down to my end of the hallway. With that, I came up w
of let's try a music tech class, and approached my assistant sup
with it and she loved the idea.

The continued exposure to new music technology and potential peda

provided Steve with the knowledge needed to propose his music tec
The other helpful contextual factor was the supportive environ
school district. By putting out an annual call for new course pro
revisions, Diana created an environment in which teachers were em
curricular change. This provided Steve with an obvious next step f
music technology class. This supportive environment stands in mar
environment described in Ruthmann's (2006) study. However, Stev
he had not had a supportive administrator like Diana, he would ha
advocate strongly for the music technology course.

Expanding the Music Department

Expanding the reach of the music department was a shared motiva
and Steve in establishing this class. Diana stated:
I do truly believe that our children need to be exposed to the ar
develop a love that they never knew existed or a talent that they
existed. We have all the athletic programs, which do well here. I w
programs to be on the same level and that is why we implement
in art and music. I want to expand even further. Children need t

Interviewed separately, Steve struck a similar theme:

The goal was to increase enrollment in the music department- n
not just theory, not just choir, but get the kids that don't want
end of the building, the kids that don't know about our end of t

Steve also had a secondary motive in establishing the class in

enrollment:

This was another thing to hopefully increase enrollment, which

get us another music teacher. That has been my goal since I've
district. We got the third teacher, now we are looking for the f

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Dammers Technology-based Music Course

This motive indicates a deeper assumption upon

ment will strengthen the department. His view
ated to support that goal is illustrated by Steve's
at the school:

Years ago, we were asked by the middle sch

are your thoughts on getting a string progra
of ours, because we might have kids saying
anymore, I want to play violin.

In contrast, Steve did not have a concern that t

students from the existing performance program
tially helpful to the performance program throu

Technology Enthusiasm
Both Steve and Diana viewed technology as a w
not currently studying music. Steve said:

What's going to grab the kids? Well, all they

ogy, and everything else. Not that I know m
those sorts of things, but the kids play this un
not come up with something that can really
them? GarageBand works really well with tha

Speaking of students and technology generally, D

into technology. It is an extension of them. If w
their interest and engage these kids and really
technology." Their views of student interest in t
initial enrollment in the class. Fifty-three stud
technology in its first year, with only minimal
only six were also enrolled in band or choir. W
Technology, an additional 4% of the school wil
student interest in technology, and his administr
technology to engage students, Steve met his g
department.

Pre-requisites Met
In addition to having a teacher and an administr
reach of the music program, three practical pre-
and space. When asked about potential difficu
that budget was an initial concern of hers. How
in the district's Perkins grant program, the dist
ers, software, and supporting resources to off
Technical and Vocational Act, the Department

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Bulletin of the Council for Research in Music Education Fall 2010 No. 186

schools to create three-course sequences which lead to study at the com

level (U.S. Department of Education, 2007) The three-course music seq
High School begins with music technology, and continues with music
music theory. While Steve had already acquired seven of the Apple iM
previous years for the music theory classes, the Perkins grant was essen
ing the current twelve-station lab.
Steve addressed the questions of space and scheduling prior to pr
course. The lab was set up along one side of the band room. As Steve
director, that seemed appropriate, and he did not need to acquire th
another teacher or department. However, this arrangement limits the ov
lab, and Steve is seeking other spaces that might become available with
in order to find a dedicated room for the music technology lab.
Steve was also able to suggest a solution for the staffing issue. As is c
Jersey, the band students receive small group lessons for which they
other classes during the school day. These lessons filled out Steve s sched
periods of band and a combined music theory/ AP music theory class. Ho
participation in the lessons (which was optional) had been declining, s
reduce the number of lesson periods in his schedule to make room for
nology class. During the first year, one section of Music Technology w
the fall and two were scheduled for the spring semester. Steve was able
the pre-requisite demands of space and scheduling with relative ease.

DISCUSSION
This case is a striking example of educational progress initiated
to mandated change from regulating bodies. In a school whe
prominent, an administrator also valued and supported artistic
The band director whom she empowered to create the class w
ing the students he did not know, as opposed to only valuin
to be in band or choir. If this case is similar to the creation
classes at other schools, a grassroots movement of broadening t
tion through technology could be underway.
It was also clear that the in-services provided by the music
under the auspices of TI: ME and NJMEA exposed Steve to n
rectly served as a catalyst for this class. This case serves as a co
in this instance, technology presentations at state and regional
impact. The music education technology community should
and it underlines the support necessary to provide a context
creation of technology-based music classes.
In a metaphorical sense, this case was not unlike hitting
machine in Atlantic City (not too far from this high school)

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Dammers Technology-based Music Course

administrator, budget, space, and staffing all c

only wish that the slot machines had the same p
schools with technology-based music classes (2
schools, the odds are stacked against a successfu
the pace of establishing technology-based music
schools where the conditions are favorable will
Creating technology-based music courses at the
of a challenge where one or more factors continu
This leads to the question of how the music
may even the odds in these remaining schools. W
City is illegal, it is entirely appropriate in the ca
this case, a teacher and administrator were the pr
to solve issues of funding, space, and staffing.
increasing the number of change agents, and sup
It is interesting that individual software prog
they provide, have consistently been what has c
several products over a period of years. When he
his comfort level and pedagogical needs, he proc
illustrates a successful strategy of highlighting m
dents can do with them so that teachers can select
While the technology provided the means, Ste
tant for all students was the driving force behi
the pedagogical possibilities of music technology
arose internally from Steve. The importance of b
through technology is an idea that can be address
the music education technology community. Wh
the integration of technology into traditional ins
expand the reach of instruction to non-tradition
est potential. Advocacy efforts aimed toward te
of new possibilities with the belief that music ed
This study also illustrates that the technology
a benefit rather than a threat to the existing mu
of reaching more students, Steve also established
expanding the staffing of the music program. He
sion through adding an orchestra because he vi
band program. Yet, recognizing that the music
different population of students, he viewed the
the overall music program. In other schools, dir
viewing any changes in schedule and space alloca
program. Future research efforts are needed to co
are not a threat to performance based class enr
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Bulletin of the Council for Research in Music Education Fall 2010 No. 186

illustrate the win-win benefits of expanding the music departmen

music is important, it is important for everyone, is the more students
school, the more important it will be within the school curriculum.
Advocacy toward administrators is another essential component
change agents. In this case, Diana already possessed beliefs in the v
and the arts. However, in the daily competition for a school distric
beliefs need to be consistently nurtured and reinforced. Dianas re
tioned about how she would evaluate the new Music Technology c
about how to advocate music technology classes to school administr
the kids do with it, a product, what they produce at the end. Seco
additional sections. That would tell me that yes, it is going very well.
tations should emphasize how music technology classes can draw st
show impressive examples of student work.
It appears that we may be at the beginning of a trend to create
based music classes designed to expand the reach of music departme
trates how an individual teacher viewed this expansion as importan
the overall music program. By tapping into the administration's supp
and the arts, he was able to reach a new population of music stude
decade, it will be exciting to see if variations of this process continue
high schools across the country.

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