Conference Programme 2023-01-09

This page is intentionally left blank
2
The International Conference on Music Education Technology 2023
(ICMdT2023)
Unfold the Future of Music Education through Technology
Hybrid Conference
10th to 12th January 2023
Department of Cultural and Creative Arts
The Education University of Hong Kong
Conference Programme
Edited by Chi-hin Leung www.icmdt2023.com
3
4
Table of Contents
Table of Contents............................................................................................................................................. 5
About the Conference.................................................................................................................................... 10
Acknowledgements ....................................................................................................................................... 11
Opening Remarks .......................................................................................................................................... 13

Cheung-on Tam ................................................................................................................................................ 13
KEYNOTE SPEECHES (in presentation order) .................................................................................................. 15
Music-Technology-Wellbeing ......................................................................................................................... 16
Evangelos Himonides ....................................................................................................................................... 16
Virtual Music-Making and Convergent Community during the Pandemic ...................................................... 17

Esther M. Morgan-Ellis..................................................................................................................................... 17
Play With Your Music: Design Insights from the First 10 Years of the MusEDLab ........................................... 18
Alex Ruthmann ................................................................................................................................................ 18
PAPERS (in presentation order and venue) .................................................................................................... 19
Deep Neural Networks with Music Dereverbertion for Technical Ear Training in Music Production Education
...................................................................................................................................................................... 20
Manni Chen ...................................................................................................................................................... 20
Per Magnus Lindborg ....................................................................................................................................... 20
Artificial Intelligence in Music Education Software Development: Insights from Game Design ...................... 21
Lee Cheng......................................................................................................................................................... 21
Changing Destiny through Music? A High School Music Program for Minority Students in Southwest China . 22
Tao Guan .......................................................................................................................................................... 22
Ning Luo ........................................................................................................................................................... 22
Pre-service Teachers’ Confidence and the Perceived Importance of Music Teaching in Hong Kong Early
Childhood Education ...................................................................................................................................... 23
Siu-hang Kong .................................................................................................................................................. 23
Music Teachers’ Perspectives on Utilizing Technology to Cultivate Students’ Creativity in China’s School
Music Education ............................................................................................................................................ 24
Wai-chung Ho .................................................................................................................................................. 24
Learning Science through Music: Innovative Approaches on Composing and Rearranging Cantonese Songs
into Popular Science Music Videos ................................................................................................................ 25
Exodus Chun-Long Sit....................................................................................................................................... 25
Music Education on YouTube and the Challenge of Platformisation .............................................................. 26

Emmett O'Leary ............................................................................................................................................... 26
5
Harnessing Computational Thinking for Music and Music Teacher Education ................................................ 27
Eddy Chong ...................................................................................................................................................... 27
From MIDI to STL: The Application of Music Visualization Technology in Music Education ............................ 28
Zhao Ji .............................................................................................................................................................. 28
An Analysis of Pedagogic and Aesthetic Aspects of Play-A-Long Time............................................................ 29

Matthew Thibeault .......................................................................................................................................... 29
Exploring the Localization of Orff Sound Teaching Method in Elementary School Music Curriculum—The
Teaching of Fangshan Drum in Nanjing as an Example ................................................................................... 30
Tianyue Xing ..................................................................................................................................................... 30
How Coding and Inquiry Learning Facilitate Music Education ........................................................................ 31

Wing-ka Lam .................................................................................................................................................... 31
Preliminary Study on Online Training Mode of Chorus in Colleges and Universities in Epidemic Times: Taking
the Chorus of Capital Normal University as an Example................................................................................. 33
Xia Qing ............................................................................................................................................................ 33
Explore the Possibility of Establishing an Online Learning Platform through the Online Applications for Rural
Music Teachers .............................................................................................................................................. 34
Jin Xu ................................................................................................................................................................ 34
Hongxiao Zhao ................................................................................................................................................. 34
Opportunities for COIL in Doctoral Education ................................................................................................ 35

David Gabriel Hebert ....................................................................................................................................... 35
A Case Study of Chamber Choir Online Rehearsal: How were the Selected Vocal and Choral Aspects of
Choristers being Addressed throughout the Rehearsal Performance and Practices? ..................................... 36
Hei-lam Helen Leung ........................................................................................................................................ 36
Design of National Vocal Music Teaching Mode in Colleges and Universities Based on Artificial Intelligence
Digital Algorithm ........................................................................................................................................... 37
Zeng-yu Lou...................................................................................................................................................... 37
Juan Tang ......................................................................................................................................................... 37
Sihao He ........................................................................................................................................................... 37
Technology – The Potential “Catalyst” of Students’ Learning Motivation and Engagement in General Music
Education....................................................................................................................................................... 38
Yifan Liu............................................................................................................................................................ 38
Instrument-Making as Creativity: A Phenomenology of Digital Musical Instrument Design ........................... 39

Patrick Horton .................................................................................................................................................. 39
Seeking for the Metaverse of Music Education .............................................................................................. 40

Qi Xiao .............................................................................................................................................................. 40
6
The Flexible-learning Approach in Higher Education Music History Courses .................................................. 41
Pan-hang Tang ................................................................................................................................................. 41
A Longitudinal Study Using Video-stimulated Interviews with Chinese Preservice Guzheng Teachers in the
UK: What Influences their Pedagogical Transformation and Choice-making in Teaching? ............................. 42
Xinpei Zheng .................................................................................................................................................... 42
Integrating Ubiquitous Music Ecologies into STEAM Scenarios in Music Teaching-learning Processes ........... 43
Yannis Mygdanis .............................................................................................................................................. 43
Elissavet Perakaki ............................................................................................................................................. 43
Technological Pedagogical Content Knowledge (TPACK) of Preservice Music Teachers at Normal University in
China ............................................................................................................................................................. 44
Jinhan Wei........................................................................................................................................................ 44
An Experimental Application of a Real-Time Pitch Feedback System for Performances with a Conductor’s
Indication ...................................................................................................................................................... 45
Yasumasa Yamauguchi ..................................................................................................................................... 45
Taku Kawada .................................................................................................................................................... 45
Toru Nagahama................................................................................................................................................ 45
Tatsuya Horita .................................................................................................................................................. 45
Contemporary Piano Pedagogy and Creative Teaching in the One-to-one Context in Higher Education
Institutions in Mainland China ....................................................................................................................... 46
Mengyao Zhao ................................................................................................................................................. 46
The Analysis of the Assessment Design of the National Assessment of Educational Progress (Music) ........... 47
Yue Luo ............................................................................................................................................................ 47
Hang Su ............................................................................................................................................................ 47
A Piano Pedagogy for Adolescent Beginners: The Importance of Music Physiology ....................................... 48
Qing Yang ......................................................................................................................................................... 48
Wen Wang ....................................................................................................................................................... 48
Mengya Xia ...................................................................................................................................................... 48
The Asosasyon ng Musikong Pilipino (AMP) Online Outreach and Workshop Program: Expose, Inspire,
Educate .......................................................................................................................................................... 49
Dulce Blanca Punzalan ..................................................................................................................................... 49
Melchor Villena ................................................................................................................................................ 49
Annalena Judith Durano .................................................................................................................................. 49
WORKSHOPS (in presentation order and venue) ........................................................................................... 51
Establishing Tablet Orchestra at K12 Schools: A Real-life Example................................................................. 52

Cheuk-long Leung ............................................................................................................................................ 52
7
The Creative Application of Loop Station in Music Teaching at Primary and Secondary Schools .................... 53
Shamei Huang .................................................................................................................................................. 53
Ziwei Ye ............................................................................................................................................................ 53
Zhixian Wen ..................................................................................................................................................... 53
Online Choral Rehearsal and Practices - Mindful Choral Singing and Listening Approach .............................. 54
Paulina Wai-ying Wong .................................................................................................................................... 54
Creative Coding: Simple Strategies that Support Musical Thinking with Technology ..................................... 55
Patrick Horton .................................................................................................................................................. 55
AI Shi Pu – The Digital Platform for Guqin Jian Zi Pu based on AI Technology ................................................ 56
Bing Wei ........................................................................................................................................................... 56
Youdi Wang ...................................................................................................................................................... 56
8
9
About the Conference
The International Conference on Music Education Technology 2023 (ICMdT2023) is organised
by the Department of Cultural and Creative Arts of The Education University of Hong Kong
that is held from 10th to 12th January 2023. The conference aims to bring together leading
academics, researchers, practitioners, and professionals to exchange and share their
experiences and research projects on all aspects of music education with the use of
technology. It also provides a premier interdisciplinary platform for researchers, educators,
and practitioners, to present and discuss the most recent trends and innovations in the fields
of music education and technology.
The theme for ICMdT2023 is Unfold the Future of Music Education through Technology. The
presentations from a wide variety of theoretical, interdisciplinary and practice-based
perspectives with the use of technology into the topics listed below:
• Innovative Music Learning

• Music in School
• Instrumental Teaching
• Artificial Intelligence (AI)
• Tablet/Laptop Orchestra
• Technology-enhanced Creativity
• Performance and technology
• Learning Music through Play
• STEAM Education through Music
• Community and Society
10
Acknowledgements
The ICMdT2023 Organising Committee expresses its sincere appreciation to the following
people and organisations for their support:
Prof. Evangelos Himonides

Professor of Technology, Education, and Music,
UCL Institute of Education, University College London
Dr. Esther M. Morgan-Ellis

Associate Professor of Music History,
The University of North Georgia
Dr. Alex Ruthmann

Associate Professor of Interactive Media and Business
NYU Shanghai
Associate Professor of Music Education and Music Technology
NYU Steinhardt (dual appointment)
Prof. David Gabriel Hebert

Professor of Music Education, Western Norway University of Applied Sciences
Honorary Professor, The Education University of Hong Kong
Ms. Lima Pau

General Manager, Parsons Music Corporation
Honorary Fellow, The Education University of Hong Kong
Mr. Matthew Yau-shing Pun

Assistant Manager, Education Development
Parsons Music Corporation
Mr. Barnabas Fekete

Product Manager
Parsons Music Corporation
Ms. Yuet-man Wong

Po Leung Kuk Anita L.L. Chan (Centenary) School
Ms. Ka-ming Lee

Xianggang Putonghua Yanxishe Primary School of Science and Creativity
Mr. Ka-fu Ho
Xianggang Putonghua Yanxishe Primary School of Science and Creativity
Dr. Lexuan Zhang

Post-doctoral Fellow, Department of Curriculum and Instruction
11
Dr. Paulina Wai-ying Wong
Assistant Professor of Teaching, Department of Cultural and Creative Arts
Dr. Steve Sung-chi Ho

Assistant Professor, Department of Cultural and Creative Arts
Dr. Benny Pan-hang Tang

Lecturer I, Department of Cultural and Creative Arts
Dr Philbert King-yue Li
Lecturer II, Department of Cultural and Creative Arts
Ms. Jasman Wing-yan Pang

Senior Research Assistant, Department of Cultural and Creative Arts
Ms. Toby Sin-yu Law

Executive Assistant, Department of Cultural and Creative Arts
All the paper, workshop, poster and practice-based proposals were blind peer-reviewed by
the ICMdT2023 Organising Committee and invited reviewers:
Dr. Jason Chi-wai Chen (Hong Kong)

Dr. Koji Matsunobu (Hong Kong/Japan)
Dr. Calvin King-cheung Lee (Hong Kong/USA)
Prof. Bo-wah Leung (Hong Kong)
Dr. Chi-hin Leung (Hong Kong)
Dr. Matthew Doran Thibeault (Hong Kong/USA)
Dr. Yang Yang (Hong Kong/China)
12
Opening Remarks
Cheung-on Tam
Associate Professor
Head of the Department of Cultural and Creative Arts
Distinguished keynote speakers, presenters, guests, fellow students, ladies and

gentlemen, good morning.
Thank you to each and every one of you for being here with us for the International
Conference on Music Education Technology 2023, organised by the Department of Cultural
and Creative Arts of The Education University of Hong Kong.
This conference aims to bring together prominent academics, researchers,

practitioners, and professionals to exchange and share their experiences and research
projects on all aspects of music education employing technology. We intend to establish a top
multidisciplinary venue for scholars, educators, and practitioners to present and discuss
current trends and developments in music education and technology. The theme of this first
edition is Unfolding the Future of Music Education Through Technology, with key areas such
as Artificial Intelligence (AI), Tablet/Laptop Orchestra, Technology-enhanced Creativity, Music
in School, Instrumental Teaching, and so on.
We are very honoured to invite renowned experts as Keynote Speakers for these three
days. Prof. Evangelos Himonides of University College London's UCL Institute of Education,
Dr. Esther M. Morgan-Ellis of The University of North Georgia, and Dr. Alex Ruthmann of New
York University Steinhardt are among them. I am sure that their speeches will enrich and
inspire us. Meanwhile, we are grateful for the fantastic paper and workshop submissions from
exceptional presenters. We are excited to interact with them during the conference.
Last but not least, we thank our conference partners, Prof. Bo-wah Leung, President
of the International Society of Music Education (ISME), Dr. Chi-hin Leung, President of the
Hong Kong Association for Music Educators, Mrs Lima Pau, General Manager of Parsons Music
and our University's Honour Fellow, and Prof. David Hebert, Western Norway University of
Applied Sciences and our Honour Professor.
Thank you for taking the time to listen, and I hope you have a good time at the
conference. Thank you very much!
13
14
KEYNOTE SPEECHES
(in presentation order)
15
Music-Technology-Wellbeing
Evangelos Himonides
University College London
Abstract
In this invited keynote presentation, I aim to offer a short background of my
‘phylogenetic’ journey to date and rehearse technology’s key role in it. For the main part of
the presentation, we discuss wellbeing, with a focus on how the arts —particularly music—
often in tandem with technology, can foster greater development and a more positive lifelong
learning experience. We shall be looking at the very notion of ‘wellbeing’ and how this has
evolved into something nowadays less strongly related to pathology, and we shall rehearse
some evidence relating to the symbiotic relationship between learning, the arts, and
technology as catalysts for psychological growth and sustaining a healthy bodymind. We shall
do this both at a theoretical level, with the rehearsal of published evidence, but also with the
presentation of a small number of potentially useful vignettes from current practice. These
examples should allow us to celebrate the fundamental role that music plays in our lives and
echo the importance of fostering musical development, engagement and praxis throughout
the lifespan. I will argue that technology’s role in this context is very important, even vital.
16
Virtual Music-Making and Convergent Community during the
Pandemic
Esther M. Morgan-Ellis
The University of North Georgia
Abstract
When the COVID-19 pandemic brought in-person music-making to a halt, participants
in communities of practice were quick the shift their activities online, finding creative ways to
make use of accessible streaming and video-conferencing platforms. For two years, I
participated in and studied the online activities of Sacred Harp singers and old-time musicians.
While these two communities are committed to participatory music-making, their unique
characteristics and needs led them to settle on different approaches to virtual participation.
In both cases, however, virtual music-making served to sustain and build community, at the
same time creating new opportunities for participants to enter the tradition and improve
their skills.
Sacred Harp singers primarily gathered in Zoom meetings to sing along with audio and
video recordings made at in-person events. These recordings were carefully chosen by a
meeting DJ, who would make selections that were of special significance to the singers.
Although participants could not hear one another in real-time, they sang with the voices of
community members and remembered times spent together. Sacred Harp singers also used
Zoom to facilitate live singing, during which the leader would perform the melody line while
other participants sang harmonies on mute. Finally, Sacred Harp singers developed a method
for layering Facebook Live broadcasts to generate a stream containing all of the vocal parts.
Although old-time musicians often learn from recordings, they did not use them to
facilitate online jamming during the pandemic. Instead, pairs of musicians who lived together
would broadcast over Zoom, YouTube, or Facebook Live while participants played along from
their homes. Like virtual singing, these jams became sites for community building and music
learning. They also provided access to musicians who were otherwise unable to participate
due to isolation or infirmity. While most online music-making in these communities has
ended, the endurance of online singing and jamming testifies to the value musicians find in
these activities. This presentation will draw on various studies conducted by the speaker to
emphasise the pedagogical potential of virtual participatory music-making.
17
Play With Your Music: Design Insights from the First 10 Years of the
MusEDLab
Alex Ruthmann
New York University Steinhardt
Abstract
The NYU Music Experience Design Lab (MusEDLab) researches and designs new
technologies and experiences for music making, creative learning and engagement together
with students, educators, non-profit, and industry partners. We focus on lowering barriers to
and promoting creative expressions of all people across the lifespan. With locations in
Brooklyn and Shanghai, the MusEDLab actively seeks collaborators and partners in the US,
Europe, and Asia.
MusEDLab offers contract design and consulting services to non-profit and industry
partners sharing our expertise in arts education, technology, research and design. They
implement a collaborative design process, engaging end-users and commissioning partners
throughout, from initial concept brainstorms and designs to prototypes, play testing, and the
final products. They also license their technologies to be commercial and non-profit partners
in the music, education, and media technology sectors.
The speech will share the design insights obtained in the past 10 years.
18
PAPERS
(in presentation order and venue)
19
Deep Neural Networks with Music Dereverbertion for Technical Ear
Training in Music Production Education
Manni Chen
City University of Hong Kong
Per Magnus Lindborg
City University of Hong Kong
Abstract
Reverberation is an audio effect used in music production, which affects the spectrum
of audio as well as the timbre of music. In this case, technical ear training on how
reverberation works on music samples is important since sound engineers are required to
perceive subtle changes in audio to reach the target musical texture that they design in music
production. However, the music dry recordings are not universally available for music
production students to practice critical listening in terms of reverberation. In this paper, we
propose a deep learning-based music dereverberation method to generate dereverbed music
samples for technical ear training in music production education. The experiment results
show that the proposed method can effectively realise dereverberation compared to other
neural network-based methods according to various objective evaluation metrics.
20
Artificial Intelligence in Music Education Software Development:
Insights from Game Design
Lee Cheng
Anglia Ruskin University
Abstract
While artificial intelligence (AI) has gradually become a buzz word in the academia that
many technology-assisted initiatives claim to have AI elements involved, it could be a good
time to look into the affordances of AI in music education by borrowing ideas from other
disciplines. This session will present the current applications of AI in game design – a discipline
that sounds remote but shares many common characteristics – and the potential alliances
with music technology and education. These include but not limited to pathfinding,
procedural content generation, and dynamic difficulty adjustment, which correspond to
music alignment, educational content creation, and learning analytics in music education.
Behind the matched applications of AI are the algorithmic design and theory that form the
backbone for the technology to flourish in the two disciplines. With more sophisticated AI
elements being applied and its approximation with music education, insights from game
design unfold potentials for the current educational technology to advance the application of
AI in music teaching and learning. Despite the technical description, this session is not only
limited to technologists but also suitable for any music educators who are interested in
technology and/or gaming.
21
Changing Destiny through Music? A High School Music Program for
Minority Students in Southwest China
Tao Guan
Guangzhou University
Ning Luo
Guangzhou University
Abstract
This study reflects a high school music program aiming at promoting educational equity
in the college entrance examination for ethnic minority students living in a remote mountain
area in southwest China. As a multi-ethnic country with more than 50 indigenous ethnic
groups, social justice issues in education have been widely concerned in China, especially in
southwest regions where ethnic minorities are the majority of the local population. In music
education, the Art College Entrance Examination (ACEE) encourages ethnic minority students
to use their native languages to sing folk songs instead of the conventional Western bel canto
while having bonus points and priority admission by virtue of their ethnic identities. The
minority students interested or talented in music can gain access to higher education through
the ACEE. It intends to enhance the educational attainment of minority students by utilising
their cultural backgrounds as assets. This case study explores the process of organising Yi,
Mongolian and Tibetan high school students to prepare for the ACEE guided by two local Yi
music teachers. It analysed the motivation of minority students who pursue higher education
opportunities that may be life-changing through music learning. According to interviews,
observations, and follow-up surveys, a gap was founded between educational policies and
practice. Despite the preferential policies, ethnic minority students still face numerous
challenges in the process of seeking high-quality educational resources. On the other hand,
the program did provide a new path for ethnic minority students for educational equality.
Based on Bourdieu’s cultural capital theory, this study discusses the connection between
preferential policies and minority music education in a broad sense so that the findings of this
particular study not only relate to a specific context of teaching and learning but also relate
to international contexts to provoke further research and discussion.
22
Pre-service Teachers’ Confidence and the Perceived Importance of
Music Teaching in Hong Kong Early Childhood Education
Siu-hang Kong
Abstract
Teachers’ beliefs often shape their behaviour, and teaching practices inform their
teaching methods and outcomes in the classroom. The deficit in teachers’ perceived self-
competence can become a barrier to teaching music, an action that in turn, produces negative
impacts on their students’ learning and enjoyment when making music. This study examines
pre-service kindergarten teachers’ confidence in teaching music and how it influences their
beliefs in offering music education to students in early childhood education. Based on a
synthesis of quantitative data drawn from 467 pre-service teachers, this study addresses two
research questions: (1) How do pre-service teachers perceive their competence and beliefs in
music teaching? (2) To what extent does pre-service teachers’ perception of competence
inform their beliefs in music teaching?
In the existing study, the majority of respondents were confident in leading most music
activities except for those activities that required specialised music training and integrated
with technology. Pre-service teachers also agreed on the importance of children’s music
education. Further, the teachers’ confidence in teaching music was positively associated with
their perceived importance of children’s music education. This study thus provides a close
association between teachers’ confidence and the perceived importance of learning
objectives and expectations in music education. This study further implies that despite
increasing attention being placed on the use of technology in Hong Kong early childhood
settings, preschool teacher training in integrating technology into music lessons is still
missing. The study further suggests that the teacher education curriculum should closely
relate to teachers’ self-judgment of their teaching competency, which in turn will affect their
teaching behaviour and influence both the quality and effectiveness of different learning and
teaching activities in Hong Kong early childhood music education.
23
Music Teachers’ Perspectives on Utilizing Technology to Cultivate
Students’ Creativity in China’s School Music Education
Wai-chung Ho
Hong Kong Baptist University
Abstract
Creative approaches in China’s music education have been growing and implemented,
particularly during the Chinese education reforms since the beginning of the twenty-first
century. In response to the examination of the impact of relevant social change on technology
and musical creativity in China’s school music education, this paper will report the findings
from in-depth, semi-structured interviews with music teachers in primary and secondary
schools. The study used the interview data to explore music teachers’ perceptions of and
approaches to creativity and the use of technology in music teaching. Three issues were
addressed:
1. Are students more motivated to learn about creativity when technology is
employed in music lessons?
2. For which music activities do teachers prefer to use technology for the
cultivation of creativity?
3. What are the music teachers’ positions on the use of technology in relation to
musical creativity in the classroom?
Due to the COVID-19 pandemic, the teacher interviews were conducted across two
academic years between 2019/2020 and 2020/2021. The participants involved in the
interviews in three Chinese localities included four Beijing teachers, 9 Changsha teachers, and
10 Shijiazhuang teachers. Overall, all 23 teacher interviewees in this study broadly thought
that music education as aesthetic education was the established philosophy of school music
education, and that classroom music lessons should motivate students’ creativity, inspiration,
imagination, sensitivity, and inventiveness. They maintained that technology provided an
excellent environment for creative development, providing self-awareness of students’
creative process, experiential flow learning, and thinking skills. In planning their music
teaching to develop creativity, imagination, and creative thinking, some teachers indicated
that they often used digital resources for the music activities of listening,
composing/improvising, and performing, as well as other integrated creative arts activities.
Some of the teacher interviewees made comments on their struggles with and the limitations
of using music technology in creative music practices in different contexts, for example, their
personal preference, personal philosophy of music education, education background, and the
consideration of the nature of creativity in music education, among others. Creativity in
school music education brought about by technology is more evolutionary than revolutionary
(not limited to China) in expanding the music curriculum and fostering musical creativity in
students. Further research on how technology/music technology can enhance creative music
practices in teaching and learning will shed light on its importance.
24
Learning Science through Music: Innovative Approaches on
Composing and Rearranging Cantonese Songs into Popular Science
Music Videos
Exodus Chun-Long Sit
International Astronomical Union
Abstract
This practice-based presentation explores the reframing of innovative learning
approaches by integrating science and art, which is applicable for formal education in schools,
informal education, and public education. Learning Science through Music aims to be an
effective and interactive method to arouse our targeted learners interests by writing song
lyrics with systematic consideration of knowledge. Common language and popular culture of
Cantonese songs or Cantopop classics can enhance reinforcement learning and working
memory of ABSTRACT scientific knowledge, resonant with local nostalgia and enthusiasm.
This multi-sensory learning experience is crucial for inclusive education and diversifying
learning, especially for auditory learners and students with musical-rhythmic intelligence,
with reference to the eight abilities in multiple intelligences proposed by Howard Gardner.
As a part of STEM+A@Astronomy social innovation project, science-related music pieces

with lyrics, including composing original songs and rearranging Cantopop songs with new
educational lyrics, would be an efficient medium for innovating the contribution of science-
learning experience and applications of music composition. The music videos will be
supported and produced by Music EdTech software, such as GarageBand and digital video-
editing software. Some Cantonese songs will be showcased or shared, such as "Deep-sky
objects" (深空天體) as a breakthrough of the first original Cantonese song sent into the “Edge
of Space” (at 103,018-feet Stratosphere) by a weather balloon, “Starlight (in Physics)” (明星-
物理篇) and “A Balloon's Journey (in Seasonal Constellations)” (春夏秋冬-四季星座篇).
25
Music Education on YouTube and the Challenge of Platformisation
Emmett O'Leary
Virginia Polytechnic and State University
Abstract
YouTube is a thriving platform for music learning (Cayari, 2012, O’Leary, 2016, Waldron
et al, 2017). For many, it is their primary means of musical engagement and for a growing
community of music educators, YouTube has replaced the school as their source of income.
These YouTuber music educators, much like their school-based counterparts make a living
teaching music, but they do so in ways that are fundamentally different. They are dependent
on the YouTube platform to connect them to learners and for their livelihood. YouTube’s
policies govern and shape their work, and YouTube is not a neutral actor. Their teaching is an
example of platformisation which, according to Poell, Neiborg, & Duffy (2021) can be
understood as “the penetration of digital platforms’ economic, infrastructural, and
governmental extensions into the cultural industries, as well as the organization of cultural
practices of labor, creativity, and democracy around these platforms.” In this paper, using
examples from professional ukulele teachers on YouTube, I will critically examine how
platformisation influences the learning materials created, the distribution of content, and the
monetization embedded in the process. Topics include how the “publish, then filter” model
(Shirky, 2008) on YouTube makes possible learning on a scale otherwise unimaginable, yet
connecting with learners and viewers is dependent on music educators’ abilities to craft
content that will be algorithmically viable and likely to be recommended (see Bishop, 2020;
Thibeault, 2014). The algorithm then stands as an intermediary shaping learning materials
and interactions. Next, I will discuss, the way music educators navigate complex issues of
copyright and media rights (Thibeault, 2012, Tobias, 2015) as they produce content that will
be automatically screened by YouTube’s CONTENT ID system and accompanying enforcement
processes. Finally, I will explore how YouTube’s monetization structures create a learning
environment that is overtly commercialized and commoditized as learners are bombarded
with requests to like, subscribe, and connect on the platform. These requests are self- and
platform-serving more than learner oriented. The implications of platformisation are real.
YouTube shapes teaching and learning and creators have little agency in influencing the
platform. YouTube will consider its future interests first in adjustments to governance policies
and algorithmic structures, and music educators will be left to adapt to a system designed to
serve mainstream media, corporate earnings, and YouTube’s own product goals first. I will
close with a discussion of how music educators might ameliorate the influences of
platformisation and ways higher education can inform future practice.
26
Harnessing Computational Thinking for Music and Music Teacher
Education
Eddy Chong
National Institute of Education, Nanyang Technological University
Abstract
The advocacy for incorporating computational thinking (CT) in general education can be
traced back to the early 1980s (Papert, 1980 & 1982) but momentum for action only gained
after the call received renewed impetus in the present century – from Jeanette Wing’s 2006
seminal article down to the OECD Future of Education and Skills 2030 – as society moved from
Web 1.0 to Web 2.0. Controversial though it may still seem in some educational quarters, and
even if the operational definition of CT for educators is still ongoing, the call can no longer be
ignored nor dismissed by educators, not least because of the fast digitalisation of our
everyday living, and with AI becoming increasingly ubiquitous in the world of Web 3.0.
CT is no stranger to digital musicians and has recently been attracting music educators
(Baratè et al., 2017; Bell & Bell, 2018; Hug, et al., 2017; Repenning et al., 2020).
Understandably, much attention has been paid to teaching computational thinking through
music in some ways. Freeman et al. (2019), for example, explore using EarSketch for students
to learn elements of coding while engaging in sample-based music composition. Bell & Bell
(2018) share various other ideas on getting students to learn computational thinking and
music in an integrated manner.
This presentation, on the other hand, explores what computational thinking can offer
music teaching. The primary focus is not so much on fostering computational thinking but on
using CT to develop an approach to teaching and learning music – be it in the area of music
theory, composing or even performing. Going one step further, one may in fact take
advantage of the systematic and logical nature of CT when training music student teachers to
develop particular pedagogies. The presenter will draw on his teaching “experiments” in
recent years to illustrate the pedagogical affordances of a computational thinking lens for
both music education and music teacher education. Issues or concerns stemming from such
a pedagogical approach will also be touched on.
27
From MIDI to STL: The Application of Music Visualization Technology
in Music Education
Zhao Ji
Sichuan Conservatory of Music
Abstract
The art education in ordinary high schools in the Chinese Mainland has introduced many
excellent ideas and achievements from all over the world for many years and is actively
exploring the localisation of foreign achievements. In addition to actively introducing
excellent teaching methods and ideas, it is also the general trend to apply independently
innovative scientific and technological achievements to classroom teaching. In the teaching
practice of music appreciation in senior high schools in the Chinese Mainland, the author finds
that students' rational cognition of music works is insufficient. One embodiment is that
students often cannot distinguish musical structures by hearing. With the help of this
technology, music information recorded in MIDI format can be converted into corresponding
3D graphics. This paper explains the process of using this independently designed music
visualisation technology to conduct teaching experiments in high school music classes, and
compares the changes in students' auditory cognition of piano music structure before and
after the intervention of this technology using a questionnaire. The author found that with
the help of this technology, the students' ability to distinguish musical structures from hearing
has been improved. In addition, in the teaching process, this technology also provides
students with concrete cognitive opportunities for ABSTRACT concepts such as "dots", "lines",
and "planes" in music. With the rapid development of AI graphic recognition technology,
music visualization technology not only serves music education but also is expected to
combine with AI graphic recognition technology to form intelligent auxiliary tools and even
new art forms that music lovers and practitioners need.
28
An Analysis of Pedagogic and Aesthetic Aspects of Play-A-Long Time
Matthew Thibeault
Abstract
Much music learning now takes place in mediated or hybrid contexts, whether through
Zoom or via YouTube tutorials. While many aspects of these engagements are new, the basic
idea of live playing in connection to asynchronous music recordings has a long precedent: the
50-year history of the jazz Play-A-Long. In this paper, I present a conceptual and empirical
critique of the form of the Play-A-Long, covering both the possibilities and limitations based
on an analysis of Play-A-Long materials made by jazz educator Jamey Aebersold. The key idea
of the paper is to actually listen closely to tracks that normally sit outside our attention,
hearing the distinct nature of the Play-A-Long in mediated learning.
This historical and conceptual study derives from three types of data: First, a coded
analysis of 24 oral histories with Aebersold and key teachers and students associated with his
works. Second, an analysis of key Play-A-Long recordings alongside similar recordings by the
original artists, which provides particular insights into the ways that Play-A-Long recordings
systematically differ from other jazz records. Third, structured reflections by the author as he
played along with Aebersold tracks additionally inform the understanding of considerations
players must attend to when engaging with these tracks.
Using a framework from sound studies and based on Dewey’s notion of technology, the
paper claims that the Play-A-Long has a distinct set of limitations that subtly shape the way
that the learner engages, and which produces an experience that is different from learning
jazz in a live combo context. These include the separation of soloist from ensemble, the need
for the Play-A-Long to remain in the background of consciousness in a way that results in an
interpretive sameness, and concerns around repetition and homogeneity that align with the
limits of sound recordings.
The key conclusion concerns how these volumes create “Play-A-Long Time”: a particular
aesthetic, where the Play-A-Long not only generates time, but a quality of time that balances
an interest in listening with too little actual playing, creating time that musicians want to fill
with their solos. This is documented in discussing the creation of Play-A-Long volumes with
Aebersold and the musicians who performed on his volumes, through album analysis, and
supported through structured reflection. The paper closes by connecting these longitudinal
insights with contemporary concerns in new media music learning.
29
Exploring the Localization of Orff Sound Teaching Method in
Elementary School Music Curriculum—The Teaching of Fangshan
Drum in Nanjing as an Example
Tianyue Xing
Nanjing Normal University
Abstract
World multicultural music education is one of the mainstream developments of
contemporary international education, which advocates that students should experience the
art and culture of different ethnic groups and countries, accumulate a wide range of relevant
musical experiences, cultivate a sense of identity for local music, and achieve understanding
and respect for world culture. Based on the above research trends and background, the
localization of foreign music teaching methods in China has been a hot topic in China's school
music education research. The significance of localization exploration is not only limited to
enriching music teaching forms, but more importantly, it can enhance students' musical and
humanistic qualities through various art experiences.
Nanjing Fangshan drum is a kind of folk music and dance, because it is danced while
drumming, and the basic movements and drumbeats of the dance are mainly simulating
sparrows jumping and pecking on the rice field, the rhythm of the whole music and dance is
distinctive and the movements are vivid, giving people a sense of cheerfulness and progress.
The author uses literature research, experimental research, and analysis and induction
methods to teach Nanjing Fangshan drum as an example of Jiangsu intangible cultural
heritage, and offers a one-semester drumming club course in an elementary school in Nanjing.
In the early stage, we summarized the examples and results from the related literature, and
led students to learn the gong and drum sutra of the Fangshan drum through the teaching
strategy of sound design, so as to master the artistic structure and connotation of the
Fangshan drum in a progressive manner.Finally, the author proposes his own pedagogical
reflections and suggestions to explore a new path for teaching this folk art.
The author aims to enrich students' musical experience and appreciate the artistic
essence of non-heritage culture through the teaching of Fangshan drums, so that students
can enhance their national self-confidence and pride while mastering the essentials of
drumming. The author would like to make more people understand Nanjing Fangshan drum
through the study of this topic, and provide teaching examples for the exploration of the
localization of Orff's sound teaching method in the elementary school music curriculum.
30
How Coding and Inquiry Learning Facilitate Music Education
Wing-ka Lam
Pentecostal Lam Hon Kwong School
Abstract
Can you imagine that a banana can give out the sound of an instrument? While there are
various lessons in school teaching about the features of different musical instruments, not all
students in Hong Kong can have the opportunity to learn a musical instrument, and it is not
easy to encourage them to learn instruments. I aim to use Scratch (Coding) and Makey Makey
to share with students this fun with the use of innovative solutions. and I aim to use Scratch
and Makey Makey to share with students this fun with the use of innovative solutions. The
artistic goal and purpose of the project is to:
1. Incorporate STEAM into the music curriculum
2. Enable students to experience music innovatively in developing creativity (e.g.
composing), music skills and processes (e.g., performing in tablet ensemble),
cultivating critical responses in music
3. Enhance students’ learning motivation with gamified learning
4. Facilitate student’s abilities in cooperation, communication and problem-
solving
The project contributed to various educational value which includes:

1. Inquiry learning: Students can have a different experience in playing musical
instruments, in which they can play the sounds of different instruments
without having a real one.
2. Self-learning: To facilitate learning motivation, the music lessons will be carried
out in an innovative way, and I aim to encourage students to explore more via
various ways, such as looking for more relevant knowledge from by others on
the YouTube. (i.e. how to make the coding for other instruments)
3. Collaborative learning and problem-solving: Students will be arranged to work
in a group (i.e. for the preparation of the tablet ensemble). They are
encouraged to contribute their knowledge and resources to the group to
ensure all members of the group can understand the concepts they learnt.
Students can learn problem-solving through their practices and preparation of
the tablet ensemble.
The method of the project includes:

1. The use of Scratch – Students will be taught to use Scratch in preparing coding
for the instrument
2. The use of Makey Makey – Students will be taught to use Makey Makey in
connecting Scratch to objects (such as banana) to generate sound
3. During the process, students can learn the characteristics of different sound of
instruments
4. Students will be invited to create their rhythmic patterns for a song by using
Scratch and Makey Makey as a medium for a tablet ensemble
This project can be applied in various scenarios:
31
1. To apply it in some topics of the music curriculum such as family of instrument,
harmony, create melody in the senior grades while improvise music with sound
notation, ostinato pattern in the junior grades
2. To perform in the setting of tablet ensemble
3. To develop cross curriculum with different subject (with visual art, drama,
general studies and STEM activities) as students can design the outlook of the
instrument which facilitate also cooperate with art and STEAM
32
Preliminary Study on Online Training Mode of Chorus in Colleges and
Universities in Epidemic Times: Taking the Chorus of Capital Normal
University as an Example
Xia Qing
Capital Normal University
Abstract
Music education in Chinese colleges and universities has experienced an erratic
development history over the past 150 years. In more recent years, the state has attached
great importance to the development of aesthetic education. It has introduced encouraging
aesthetic education policies many times so that music education in schools has achieved
fruitful results. In 2020, the global COVID-19 pandemic altered people's lives, and schools
began to move to online teaching. It has been necessary, therefore, to explore a new teaching
mode for the training of an art troupe, which heretofore had almost always taken the form
of on-site rehearsals. In 2022, the Choir of the Capital Normal University in Beijing, China,
successfully explored an online training mode and managed to achieve good and positive
teaching results. This paper discusses the use of an action research method and an
investigation research method, discussing the process and the outstanding results of the
online training mode of choral training, hoping to provide a wider reference experience for
the healthy development of other art troupes in a time of the epidemic.
33
Explore the Possibility of Establishing an Online Learning Platform
through the Online Applications for Rural Music Teachers
Jin Xu
Hongxiao Music Studio
Hongxiao Zhao
Central China Normal University
Abstract
In the past, the unbalanced educational resources between teachers in the city and the
countryside have been a significant concern in China's music education domain. Rural music
teachers not only have fewer instruments and equipment to support their teaching, but also
fewer professional development opportunities were provided for them to improve their
music teaching quality. Therefore, to explore how to use modern technology to develop
professional development opportunities for China music teachers from rural areas, this study
initiated an educational project, using online applications to provide professional
development for rural teachers. A case study has been applied for this research study, and
the authors took the people who participated in the communication platform as an entire
case. Observation, interviews, and participants’ written documents have all been collected to
understand the possibility of using online platforms for teachers’ professional development.
For online applications, there were two applications involved in the process. First, rural
teachers who preferred to participate in this training were gathered through the first social
media application, WeChat, using the “WeChat Group Chat” function to establish an online
platform for rural teachers to know and communicate with each other. Then, a group of music
experts, either famous teachers in education or experienced teachers from all over the
countries, were invited to be the training leaders, using their expertise to prepare the training
materials and offer lessons through the second online application, XiaoETong. After they
finished their lessons, they were also invited into the “WeChat Group Chat” to have more
opportunities to interact with their online students and offer more assistance if needed.
From March 2020 to now, there have been more than 5000 music teachers participated
in this educational project. For this study, six rural teachers from similar teaching regions and
teaching backgrounds were purposefully selected to investigate their perceptions of online
professional development. Results showed that all of them reported positively on learning
multiple strategies in music teaching through online training. The different WeChat Groups
functioned as different courses, including multiple themes to explore and the diverse kinds of
themes, including “Experience Sharing”, “Curriculum Standards Study”, “Reading Group”, and
others, not only support teachers in sharing and communicating educational ideas but also
allow them to learn from the training leaders and from each other for educational
competence enhancing and teaching confidence building. Therefore, it is worthwhile to
introduce this educational project to more educators, especially the ones who want to
support rural education.
34
Opportunities for COIL in Doctoral Education
David Gabriel Hebert
Western Norway University of Applied Sciences
Abstract
More than any other single historical development, the Covid-19 pandemic has since
early 2020 opened the minds of educators across all fields to the possibilities of online
education. Many music teachers were quick to adapt since working in a highly complex and
often-marginalized field (with characteristic financial challenges) already tends to require that
we consider experimental approaches to education. The first entirely online doctoral program
in music education was established as early as 2005 at Boston University, and while in-person
experiences continue to be perceived as uniquely valuable for the development of
musicianship, educators increasingly recognise the advantages of “blended” approaches in
academic music studies, especially when it comes to opportunities for international
collaboration. This presentation will offer reflections on what has been learned from nearly
20 years of online collaboration in music education doctoral studies, based on a review of
findings from several research studies concerning doctoral supervision as well as the corpus
of studies conducted directly on music doctoral programs. Specifically, it will explore how
collaborative online international learning (COIL) approaches promise to enrich doctoral
studies if applied proactively, using research-based strategies rather than ad hoc approaches.
In addition to some examples from the early years of the aforementioned program at
Boston University, the discussion will include recent experiences from both (1) the CABUTE
project, which has funding from the Norwegian Ministry of Foreign Affairs (Norad) to develop
a music PhD education program in Uganda (2021-2026), and (2) Global Competence and
Research-Based Practice in a Doctoral and Postgraduate Partnership, a project funded by a
grant from the Norwegian Directorate for Higher Education and Skills for collaboration with
The Education University of Hong Kong (2023-2026). The presentation will also incorporate
anecdotes from the presenter’s experience of having served on doctoral committees for
universities in 13 countries, including during the recent pandemic. Several studies have
identified the characteristic behaviours of successful doctoral students and mentors as well
as the factors necessary for dissertations to attain significant discoveries. While some
progress has been made across recent decades, there are also indications that music doctoral
programs could do more to align with what research suggests are the most effective ways of
ensuring quality, including through international collaboration, and that the profession
continuously struggles to meet the ideals of inclusion and intellectual diversity. The
presentation concludes with the identification of specific technology-enhanced strategies for
reinvigorating music doctoral programs to meet world-class standards.
35
A Case Study of Chamber Choir Online Rehearsal: How were the
Selected Vocal and Choral Aspects of Choristers being Addressed
throughout the Rehearsal Performance and Practices?
Hei-lam Helen Leung
Abstract
The outbreak of COVID-19 has challenged the choral industry in bringing ground-
breaking rehearsal modes and strategies to the generation. Despite the occurrence of
numerous limitations in telecommunicating software, choral educators across the globe
endeavoured to keep the ensembleship and social connection going on. Scholars are keen on
investigating how online choir rehearsal aids the social wellbeing of the needed groups (i.e.
underprivileged, elderly community choirs), while limited research has been targeted on the
execution and outcomes of various online rehearsal strategies.
This is a qualitative case study comprising interviews and observations to examine how
does a small-sized chamber choir group work and rehearses during a series of online
rehearsals organised in 2020-2021, focusing on choristers’ selective choral demand, rehearsal
strategies and outcomes. The rehearsal series was conducted on Zoom with the aid of other
online choral resources. Data has been collected from a small-scale questionnaire by
analysing several semi-structured interviews and related documentation such as rehearsal
plans and recordings. Having most participants coming from a vocal or experienced choral
background, feedback and experiences of the chorister serves as a trusted view in regard of
the strategies conducted. The implementation of mindfulness rehearsal practices and online
recourses seemingly cultivates choristers’ with a new mindset in approaching repertoires,
diction and performances. Some other rehearsal strategies may arrive on the choristers with
diverse effects, depending on certain intrinsic and extrinsic factors such as self-esteem,
technological availability and so on. This research serves as preliminary research on the
execution and effectiveness of online rehearsal strategies. Even though the technical
limitations of telecommunication software have prevented choir rehearsals from achieving
equal effectiveness as face-to-face rehearsals, the discussed approaches may be useful of
other choral conductors who are looking for new and experimental ideas in developing their
rehearsal performance and practices. Choral conductors should also evaluate the different
practical circumstances of their own choir while adopting similar activities, as every choir has
their own culture and preferences. Further research about mindfulness rehearsals in choral
settings, breaking through situational constraints are recommended.
36
Design of National Vocal Music Teaching Mode in Colleges and
Universities Based on Artificial Intelligence Digital Algorithm
Zeng-yu Lou
Shenyang Conservatory of Music
Juan Tang
Sihao He
Abstract
The adaptation of national vocal music performance and instruction in colleges and
universities based on social forms is the result of online education. We conduct a fresh
investigation into the state of Internet technology development in light of the mixed
drawbacks of conventional online education. A model for methodically summarising the
teaching system is developed throughout the practice of the new model. To obtain a
standardised model integrating performance practice, teaching practice and feedback on
teaching practice, the statistical questionnaire survey results of 1657 music area people in
China and the 22 master students in the Department of Folk Vocal Music of the Shenyang
Conservatory of Music are analysed.
The teaching mode is an integrated design of artificial intelligence, digital algorithm,

acoustic structure, vocal performance, applied music psychology, vocal music teaching
method, and vocal cord maintenance education that supports the standardisation and
conscientisation of teaching as well as the visual display of evaluation records.
To sum up, this model uses digital equipment, automatic management systems, and
cyberspace as the carrier to naturally integrate national vocal music with the network using
its software and extensive database, integrate resources to improve teachers' teaching and
students' performance practice thoroughly, establish a professional national vocal music
teaching system, and address the drawbacks of online national vocal music teaching.
37
Technology – The Potential “Catalyst” of Students’ Learning
Motivation and Engagement in General Music Education
Yifan Liu
University of Southampton
Abstract
In contemporary society, technology is being used extensively as a useful teaching tool
and more teachers are experimenting with its application to their teaching. However, little
attention has been paid to how technology affects students' motivation to learn in general
music education. The purpose of this paper is to discover the relationship between
technology and motivation in learning while focusing on several key questions, including how
technology can stimulate students' engagement in learning, how much motivation in music
learning can be enhanced through technology, and how technology can be better integrated
into the music classroom. To address these research questions, both qualitative and
quantitative methods are applied in this study. Interviews are conducted with music
educators from several different countries who provide different opinions on the use of
technology in music education, as well as different experiences of teaching with technology.
In addition to interviewing experts, an experimental study was conducted in 12 classrooms of
three K-12 schools with 420 students, in which various types of technology, such as music
games and composition software, were used in the classroom and data was collected in
relation to the research questions. The results showed the negative impact when technology
was overused, which did not help improve students' musical ability too much, as well as the
positive impact of technology on learning motivation in music learning and how students'
engagement in learning can be enhanced by using technology properly. As a result, students'
motivation in learning music is maximised when technology is used in conjunction with
traditional teaching, and it is crucial for music educators to find a balance between innovative
teaching and traditional teaching and to use technology more effectively.
38
Instrument-Making as Creativity: A Phenomenology of Digital Musical
Instrument Design
Patrick Horton
Northwestern University
Abstract
Planning for a 21st-century education that meaningfully connects to the real world
requires stakeholders to consider the constantly evolving nature of technology. While music
educators have traditionally faced barriers when incorporating technology into their
classrooms (Dorfman, 2008), new music technologies have the potential to transform
pedagogical practices (Wise et al., 2011). The field of digital musical instrument (DMI) design
is a group of interdisciplinary scholars that utilise emergent technologies in creative and
musical ways. Just as DMI designers consider the skill development of intended users
(Marquez-Borbon & Martinez Avila, 2018), educators must also scaffold learning within
technology-enhanced environments (Sharma & Hannafin, 2007), highlighting parallel uses of
musical and technological knowledge. By examining the experiences of designers in this field,
we can better understand the ways musical and technological knowledge support creative
music-making and learning.
While traditional theories locate creativity within the individual (Guilford, 1950), many
scholars have come to honour the social and cultural nature of creativity (Csikszentmihalyi,
1997). In music, Burnard (2012) expanded on these sociocultural notions to identify multiple
ways individuals can generate musical creativities, which include technology-rich activities
such as DJing and video game sound design. Using Burnard’s model, DMI design is situated as
an interdisciplinary mode of creativity that integrates both musical and technological
knowledge.
The purpose of this phenomenological inquiry is to explore the creative experiences of

advanced DMI designers. Phenomenology was a suitable research method for this study
because I sought the reality of the individuals’ experiences and feelings about a specific
phenomenon, in this case, DMI design (Moustakas, 1994). Twenty-three designers
participated in semi-structured interviews via a video conferencing platform (Spradley, 1979).
In addition to questions regarding musical experiences and technological practice,
participants were invited to engage in a video-stimulated recall activity (Rowe, 2009) where
we synchronously viewed a musical performance of their DMIs while they described their
experiences related to the design process. Through a whole-part-whole phenomenological
analysis process (Vagle, 2018), emergent themes coalesced around the designer’s
relationships with three driving elements: 1) the field, 2) the audience, and 3) the technology.
Findings illuminate the distributed nature of creativity within the DMI design field. By better
understanding creativity in this interdisciplinary space, we will help teachers better
understand the ways they can utilise technology for music learning by opening new pathways
for musicality and creativity.
39
Seeking for the Metaverse of Music Education
Qi Xiao
Nanjing University of the Arts
Abstract
The Metaverse, which exploded in 2021, has been hotly debated since its appearance.
Although definitions of the Metaverse are still divided, various discussions show the
imagination and vision of people for the future. With the support of artificial intelligence,
blockchain, 5G, virtual reality, and other technologies, the integration of Metaverse and music
education will show unpredictable potential.
The concern for quality education and diversified development has led to the gradual
recognition that music learning occupies an indispensable position in the process of personal
growth. Therefore, how to change music education to keep pace with the times has become
an urgent issue, and the unique immersion, interactivity, and diversity of Metaverse may
provide new ideas for the future development of music education.
In the Metaverse of music education, learners can gain rich virtual experiences, diverse
knowledge resources, decentralised knowledge creation and sharing, and powerful digital
productivity will widen the limited boundaries of the real world, and the generation of
Metaverse will also reconfigure the knowledge construction, learning scenarios, and
environmental identity of music education teaching. Through theoretical and applied
research on the Metaverse of music education, we will then obtain the migration of thinking
in music education and conduct predictive research on the future development of music
education.
40
The Flexible-learning Approach in Higher Education Music History
Courses
Pan-hang Tang
Abstract
This study aims to investigate whether the flexible-learning approach may or may not
foster student engagement in learning music history at the tertiary level. This approach
provides students with a certain extent of autonomy to decide what to learn and how to
assess. Hence, it is highly learner-centred and deemed effective in cultivating students’
learning interests. The flexible-learning approach has drawn global attention in recent years.
Especially in Europe, policymakers and teachers in higher education borrow it in curriculum
planning and course design. To determine the impact of the flexible-learning approach in
music history education, this study employs a retrospective post-pre survey to measure
students’ learning engagement from their perspectives. The result shows that the flexible-
learning approach effectively enhances students’ motivation to learn. This implies that a
single music history course does not need to stick to the traditional linear design but provides
multiple trajectories for students to learn according to their interests and abilities.
41
A Longitudinal Study Using Video-stimulated Interviews with Chinese
Preservice Guzheng Teachers in the UK: What Influences their
Pedagogical Transformation and Choice-making in Teaching?
Xinpei Zheng
University of York
Abstract
The video-stimulated interview (VSI) technique has been recognised as a useful tool to
facilitate interviewees’ self-reveal cognitive process. To investigate the mixture of causes for
Chinese preservice teachers’ choices of pedagogical practice and beliefs in guzheng teaching,
the current study employed a recall and reflective VSI approach (i.e. retrospective
descriptions of actual practice versus reflections on situational understanding) with three
Chinese international students, who were on the MA Music Education course in a UK
university, through three rounds of semi-structured interviews on Zoom (i.e. nine interviews
in total). The prompt materials used in the recall VSI were the participants’ lesson recordings,
examining why they adopted particular strategies at certain points. Three selected videos of
guzheng performance on YouTube were screen-shared in the reflective VSI process with the
participants, exploring how they would teach the music that was being performed.
Based on the nature of a longitudinal study, namely the study of change, the preservice
teachers’ pedagogical transformation process over 12 months was unfolded through the
technology-assisted research method in line with the interpretive framework of social
constructivism. The software MAXQDA was utilised in data analysis with in vivo and
researcher-assigned codes, from which the findings were presented in two major themes as
follows:
1. The participants’ pedagogical transformation was an ongoing process,

influenced by their initiatives for teaching improvement, confidence-building,
and the external socio-cultural environment.
2. Their strategic choice-making in teaching was significantly affected by the
teaching styles of their previous guzheng teachers in China, their concurrent
received teacher training in the UK, historical and cultural features of the music
pieces, their pupils’ learning aims and levels, and their espoused pedagogical
beliefs concerning efficiency and progress-making orientation.
42
Integrating Ubiquitous Music Ecologies into STEAM Scenarios in Music
Teaching-learning Processes
Yannis Mygdanis
European University Cyprus
Elissavet Perakaki
National and Kapodistrian University of Athens
Abstract
The technological progress of the last decades has transformed how children interact
with sound and music offering new and extended ways of expression, creation, and learning.
Based on a ubiquitous computing perspective, this digital environment can provide
opportunities for constructing a framework of sound perception, musical praxis, and
creativity enhancement. The development of digital cross-platforms and the growing variety
of hardware and software have arisen in an emerging context of ubiquitous acoustic
ecologies. The aim of this research is to involve educational scenarios in music lessons
following ubiquitous music ecologies' perspectives through a pilot study for children aged 7
to 9 in a conservatoire setting in Greece. Actions for the current practical intervention have
been designed following a STEAM project-based learning approach, which offers students
cooperative activities, transdisciplinarity, game-based, augmented reality, playful learning,
and authentic problem-solving experiences. Analysis revealed four district-emerging thematic
categories that drew on the development of auditory perceptual ability, creativity
development, computational thinking cultivation, and shaping digital and physical musical
worlds. The results of the educational intervention underlined the fundamental role of
ubiquitous music ecologies perspective in planned actions, which widened students’ musical
horizons.
43
Technological Pedagogical Content Knowledge (TPACK) of Preservice
Music Teachers at Normal University in China
Jinhan Wei
Universiti Putra Malaysia
Abstract
This qualitative case study investigates the Technological Pedagogical Content
Knowledge (TPACK) among preservice music teachers (PMTs) at C Normal University in
Beijing, China. TPACK is a framework of teacher knowledge based on Shulman’s Pedagogical
Content Knowledge (PCK) model. It differs from traditional technology teaching in that it
focuses on technology integration in conjunction with teaching plans and general pedagogy
rather than merely on technology operation. The effective development of TPACK in
preservice teachers can support teaching from a theoretical and practical standpoint.
However, research shows that music teacher education programmes in normal universities in
China cannot adequately foster the music teachers required for an information-based society.
Meanwhile, there are very limited references on how PMTs develop TPACK. This study aims
to investigate (1) the integration of TPACK among PMTs’ education programmes (2) PMTs’
perceptions and current abilities of TPACK and (3) the possible strategies for TPACK
development. 12 grade four PMTs at C Normal University, six PMTs’ instructors and three
music teacher education experts will be the respondents in this study. The data involves
observations of PMTs’ classes, analysis of education documents and in-depth interviews with
all respondents. Content Representations (CoRes) and Pedagogical and Professional-
experience Repertoires (PaP-eRs) will be used to identify the current TPACK abilities of PMTs.
All textual data from observations and interviews will be coding by using initial and analytic
coding methods until themes are emerged for answering four primary research questions: (1)
How is the integration of TPACK in the current PMTs education programme? (2) What is the
perception of PMTs on TPACK? (3) What are the current TPACK abilities among the PMTs? (4)
How is TPACK developed among the PMTs in and beyond their education programme? The
anticipated outcomes of this study are advantageous. Theoretically, it contributes to the
literature on TPACK in the music discipline and fills the research gap on music TPACK in the
Chinese context. Practically, this study contributes to the understanding PMTs’ TPACK
perception, abilities and how and to what extent their education programme equipped them
with TPACK. Furthermore, interviewing instructors and experts can also provide insights into
various possible TPACK development strategies. Considering PTMs are the primary source of
teachers in China for basic music education, this study’s findings are also supportive of
improving the quality of basic music education in the long run.
44
An Experimental Application of a Real-Time Pitch Feedback System for
Performances with a Conductor’s Indication
Yasumasa Yamauguchi
Tohoku University
Taku Kawada
Tohoku University
Toru Nagahama
Tohoku University
Tatsuya Horita
Tohoku University
Abstract
In this study, we focus on the wind instrumentalists who play in a concert band or
orchestra where they have to play along with the conductor. Visual information for
instrumentalists, such as the conductor’s indication, the behaviour of the other performers,
and the metronome, is as important as auditory information. Because of its convenience,
some instrumentalists use their tuner during their performances which may cause narrowing
of visual field and bad posture. Therefore, we implemented a pitch feedback system into
Google Glass to avoid a loss of visual information. Our experiment involved 31 participants
who have experience with actual musical activity to compare their performance with a
conventional tuner compared to their performance with Google Glass. The results of the
experiment suggested that the Google Glass system helped improve the musical performance
of the participants. To further verify the results, future work should perform more
quantitative investigations, such as verification by a third party.
45
Contemporary Piano Pedagogy and Creative Teaching in the One-to-
one Context in Higher Education Institutions in Mainland China
Mengyao Zhao
University of York
Abstract
This research focuses on contemporary piano pedagogy and creative teaching in the one-
to-one lesson in higher music education institutions in mainland China. This qualitative study
explores the student-teacher relationship in the one-to-one lesson; teaching methods,
materials and pedagogical philosophies; the role and application of creativity and creative
teaching in contemporary piano pedagogy, and institutional influences on pedagogy.
The philosophical position of social constructivism and interpretivism has been selected
as appropriate philosophical framework in the current research. Social constructivism is
concerned with the historical, cultural and contextual relevance of the environments in which
individuals work and live, and therefore what individual perceive, and experience is created
socially. Interpretivism emphasises that knowledge is constructed through people’s
experiences and perceptions, emphasising what human beings perceive and experience the
social reality to be. The research methods in the present study include document analysis,
videoed lesson observation and individual semi-structured interviews. However, video
lessons have been chosen as a particular focus for the current conference. The research
adopted the software Jian Ying (剪映) and MAXQDA to analyse the data, the software Jian
Ying helped effectively to manage captions in both English and Chinese. MAXQDA is useful for
controlling the development of codes; codes can be deleted or reclassified without affecting
other material and presented in a hierarchical structure.
The findings show that teachers seemed to have complete control over one-to-one
teaching and learning, and this hierarchical relationship may not appear to help students to
become independent learners. Furthermore, technique-oriented teaching, demonstration
and commands as predominant teaching strategies, lack of encouragement, and limited
repertoire might not sufficiently encourage students’ motivation and thus take responsibility
for their own learning. These filmed lessons also seem to be devoid of creativity and creative
teaching in one-to-one piano pedagogy in higher education settings.
46
The Analysis of the Assessment Design of the National Assessment of
Educational Progress (Music)
Yue Luo
Shanghai Conservatory of Music
Hang Su
East China Normal University
Abstract
The National Assessment of Educational Progress (NAEP) has been tracking and counting
the academic achievements of fourth, eighth, and twelfth-grade students in the United States
since 1969. 2016 NAEP Music Assessment is the fifth nationwide assessment of general music
education. Each sampled student received a booklet of questions via a iPad containing two
30-minute cognitive project modules, including writing tasks, performance tasks and student
questionnaires. Technologies are widely used in the whole process of the assessment. This
study first analysed the NAEP assessment framework, and then through in-depth discussion
of its sample test questions and evaluation criteria, analysed the five key competencies from
music perception to music composition, which provides a reference for the development and
improvement of the monitoring and assessment tools for the current general music education
in China. The main recommendations of this article are (1) MIDI technology and video and
audio recording make it possible to effectively collect student information; (2) The
electronisation and easy operation of composing and recording help teachers to evaluate the
quality of students' musical activities more effectively; (3) The assessment test questions
should correspond to the music activities that may occur in the real situations, which aims to
examine the music key competencies of the students.
47
A Piano Pedagogy for Adolescent Beginners: The Importance of Music
Physiology
Qing Yang
Sichuan Normal University
Wen Wang
Sichuan Conservatory of Music
Mengya Xia
Chengdu University of Information Technology
Abstract
In contemporary China, it is not only young children pursuing a tertiary musical
education who study music. Many adolescents are confronted with studying music as a result
of China’s growing social-education culture, which encourages them to get knowledge and
skills related to the arts, in hopes by their parents that they will be able to contribute
meaningfully and survive on their own upon entering society. Moreover, due to China’s
college entrance examination supported score policy and piano grade examinations, the
number of adolescent beginners is increasing significantly, and they are seeking specialised
education, instructors, and effective pedagogies.
The purpose of the research is to help instructors to explore effective piano pedagogies
and scientific teaching strategies for adolescent beginners. Regarding my research’s methods,
several dimensions have been included. The physiological characteristics of adolescents,
which include hand bones, muscle strength, flexibility, motor skills and proprioception have
been reviewed, also, questionnaires of students and instructors have been completed. The
results show that age and gender differences affect piano learning, and physiological
development significantly impacts adolescent beginners. Next, the contents of piano
pedagogy and method books from the past three centuries are carefully examined
chronologically to extract practical proposals for adolescent beginners. It reveals that learning
music theory, body coordination and relaxation first is vital for adolescent beginners. At last,
the scientificity of piano performance postures and the use of upper limb has been verified
according to mechanical and physiological principles. Simultaneously, the techniques for
studying scales, arpeggios, finger independence, and body relaxation and coordination are
also provided.
This research reflects the necessity and importance of music physiology. However,
modern Chinese music education still has not taken music physiology seriously yet. Music
physiology can help instructors guide students scientifically and efficiently from physiological
mechanisms such as brain science and neurology and avoid hand injury in practice.
Furthermore, it helps instructors and students distinguish mechanics and techniques. In
addition to a brief introduction to my research in the presentation, I will focus on the
development of Music Physiology and its application in modern piano education. And I wish
to conduct collaborative research with Japan’s institutes in the future to provide a method
based on Music Physiology to Chinese piano teachers and set up a new research institute to
prevent musicians and students from hand injuries and offer treatment for those injured
piano players.
48
The Asosasyon ng Musikong Pilipino (AMP) Online Outreach and
Workshop Program: Expose, Inspire, Educate
Dulce Blanca Punzalan
Asosasyon ng Musikong Pilipino
Melchor Villena
Annalena Judith Durano
Abstract
The Asosasyon ng Musikong Pilipino (AMP) is the recognised organisation of the
Professional Musicians of the Philippines. The Association was established under the
encouragement of the Philippines’ former First Lady Mrs. Amelita M. Ramos (AMP
Chairperson, 1997-2014), and was formally launched in December 1997.
During this pandemic, the creative industries (including the music industry) were
severely affected. Performances were cancelled, venues started closing, massive income loss
was experienced. Hunger, physical and mental health issues surfaced.
People were forced to stay at home especially during the height of the pandemic.
Instrumentalists, music educators and students as well as other skilled performers, had to
shift to online/remote education. Thus, a series of innovative learning activities was
conceptualised and executed by the Asosasyon ng Musikong Pilipino entitled “AMP Online
Community Outreach and Workshop Program” with three (3) components: “Expose, Inspire,
Educate”. These endeavours encouraged young minds to aspire and strike a balance between
the time-tested traditional methods of practising and live interactive performance with what
effective technological applications are currently offering, thereby, producing well-rounded
contemporary music practitioners. The target number of participants is fifty (50) pax per
workshop.
In partnership with the National Commission for Culture and the Arts (NCCA), the AMP
held a series of online workshops in 2020 and 2021, namely: (a) Individual instrument
workshops and mentoring (drums, bass, piano, guitar, alto sax/ doublings, tenor sax
doublings, trumpets 1 and 2, trombone); and (b) Dynamics of band preparation/ performance
(Horn Band set-up) and General Musicianship. These workshops were open to the public free
of charge. Videotelephony and online chat services through a cloud-based peer-to-peer
software platform were used for teleconferencing, telecommuting, distance education, and
social relations.
A mini online video presentation was the culminating activity, with the instructors and
students taking part. The advantage of an online platform is that participants can work around
their existing timetable and obligations. They can devote their attention to learning content
at whatever time is most comfortable for them without geographic barriers. They can easily
join in the workshops from the refuge of their own homes, out of harm’s way. This is a timely
occasion to gather a group together, allow them to express their emotions, and start exploring
their musical abilities during community quarantine. AMP’s online workshop series received
49
very positive feedback from the participants. It also provided an inspiring, inclusive,
collaborative, supportive and creative venue where mentors and learners felt at ease and
became deeply involved in developing artistry, ingenuity, growth and resilience. Indeed,
“words stir the mind and heart, but music moves the soul.”
50
WORKSHOPS
(in presentation order and venue)
51
Establishing Tablet Orchestra at K12 Schools: A Real-life Example
Cheuk-long Leung
Abstract
Background
Music learning activities involving tablets have become a new trend in Hong Kong,
particularly since the start of pandemic. With the use of appropriate EdTech, tablets can
facilitate and speed up the music learning process for laymen. The apps and tailor-made
learning activities significantly lower the barrier of music creation and performance for
students of all ages, and are overwhelmingly praised by teachers and students after
undergoing a few years of pilot programs in Hong Kong. This workshop will demonstrate how
to establish and lead a tablet orchestra.
Objectives
1. To experience and participate in a real-life tablet orchestra lesson
2. To understand the opportunities and challenges of tablet orchestra
Key Content
1. The basic operation of mobile music performance application GarageBand
and/or e-Orch
2. Understanding the Grid Notation
3. Multiple-part jamming using virtual instruments
4. Final performance as an ensemble
Method
1. Lecture-demonstration (f2f or online)
Application
The strategies, resources and experiences of the tablet orchestra pilot programs can be
applied to all K12 schools, special schools and art centers worldwide as a regular ensemble
team and community engagement project.
52
The Creative Application of Loop Station in Music Teaching at Primary
and Secondary Schools
Shamei Huang
Xinghai Conservatory of Music
Ziwei Ye
Xinghai Conservatory of Music
Zhixian Wen
Junxian Primary School
Abstract
In recent years, music education has received several conveniences and has many
possibilities due to the development of technology. This workshop will introduce the creative
application of RC-30 Loop Station in music teaching of primary and secondary schools.
The RC-30 Loop Station has several functions, and three of them play an important role
in this workshop. The first function is that multiple loops can be created and stacked using
two stereo tracks, which means each track can be independently controlled by a dedicated
volume push lever and track selection keys. The second function is that RC-30 Loop Station
can provide 10 types of rhythms, including Rock, Pop, Pop, Funk, Shuffle, R&B, Latin, et al., as
well as multiple recording functions. The third function is the ability to process recording
sound in a specific way. With these functions of RC-30 Loop Station, music teachers can
undergo several music activities creatively in the music classroom for the purpose of
establishing the abilities of students in rhythm sensation, intonation, accompaniment, music
listening, improvisation, and composition. Moreover, teachers can also design creative music
activities with different difficulties according to the musical level of students at different
grades, strengthening the dedication and learning efficiency of students in the music learning
classroom.
53
Online Choral Rehearsal and Practices - Mindful Choral Singing and
Listening Approach
Paulina Wai-ying Wong
Abstract
Under the hazard of COVID-19, all the music performances and practices were
suspended and changed from face-to-face to virtue mode around the globe from the
beginning of 2020. The Education University of Hong Kong Chorus (EdUHK Chorus) 2020-2021
encountered the same frantic situation even a bit earlier, starting from the previous academic
year 2019-2020. It was regarded as the preface of this ever-changing music journey under the
shadow of the pandemic. In view of the limitations and challenges being raised along the way,
new approaches and strategies were introduced and trialled to address the diverse mode,
and divergent demand of online choral performance and practices at EdUHK, including online
group rehearsal, sectional and individual rehearsal with the support of online applications
such as virtual choir websites (Easy Virtual Choir) and online digital audio workstation
(Soundtrap) and along with online music learning and teaching packages (Kinesthetic
Movement and Gestures for Choral Teaching & Learning /Singers Babel ) were in place for
both chorister and director to review the choral learning and teaching outcomes. Besides,
some mental skills were introduced for the choristers to enhance their online rehearsal and
practices through some mindful choral singing and listening activities.
The purpose of this presentation is to share the fruitful rehearsal and performance
experience of the EdUHK Chorus-Chamber Singers in 2020-2021 academic year. For both the
chorister and director to review and reflect on their experience with selected online choral
learning and teaching strategies in different settings. Including some online music learning
and teaching packages, mindful choral singing and listening activities, they were tailor-made
for the chamber group.
The presentation will provide some hands-on activities for the participants to learn about
how to prepare online choral rehearsal and practices in different settings in relation to some
online recourses, as mentioned. Working as the participant choir to have a taste of mindful
choral singing and listening activities. This hands-on experience provided participants with
some thoughts on how to relate effective choral performance and practices in different
settings. And to apply mindful choral learning and teaching strategies to address diversity and
demand for both groups and individuals in different choral communities.
54
Creative Coding: Simple Strategies that Support Musical Thinking with
Technology
Patrick Horton
Northwestern University
Abstract
Music and technology have an increasingly complex relationship. As our lives continue
to be saturated with new and diverse forms of digital media, the ability to construct - or code
- this media can be empowering for students and teachers while also opening doors for
creativity and learning. As a fun way to explore sound and technology, creative coding allows
students to claim agency when working with technology by illuminating the inner workings of
the computers they use every day. By connecting music and coding, the music classroom is
expanded to include cross-disciplinary learning and creative expression.
The purpose of this interactive workshop is to provide music educators with simple
strategies to connect coding and music while supporting creative problem solving and musical
thinking through composition-based activities. My own experiences teaching introductory,
cross-disciplinary courses on creative musical coding to upper elementary and middle school
students will be used as a jumping off point. In addition to understanding a basic rationale for
including coding in music classes, this session will provide attendees with strategies and
resources for getting started with coding in the music classroom. I will model low-barrier
approaches for using free web-based platforms that include Scratch
(https://scratch.mit.edu/), Tunepad (https://tunepad.com/), and Earsketch
(https://earsketch.gatech.edu/) within general music and music technology contexts.
Activities of different difficultly levels will be included along with modifications and
extensions.
This presentation provides active strategies that support creativity and musical thinking.
The interdisciplinary connections that music technologies afford teachers and learners help
to expand music curricula by incorporating multiple perspectives. By connecting coding to
music composition, teachers can facilitate multiple and diverse ways of knowing about
musical concepts. Creative coding offers a fun and engaging way to enrich musical
experiences. Absolutely no coding experience is required to attend this workshop.
55
AI Shi Pu – The Digital Platform for Guqin Jian Zi Pu based on AI
Technology
Bing Wei
The Central Conservatory of Music
Youdi Wang
The Hong Kong Academy for Performing Arts
Abstract
Guqin is an extraordinary treasure stands for Chinese traditional culture, and it was
officially included in the list of Intangible Cultural Heritage of Humanity by the UNESCO in
2003. Guqin music started to be widely notated since a special notation method was invented
in Tang Dynasty, called Jian Zi Pu (literally “reduced notation”) which was a great invention
particularly for easily notating and inheriting Guqin music. However, due to the special
attribute that Jian Zi Pu does not record the rhythm, players should always translate it to be
a version for performance by manually adding the duration for every note based on their own
understanding. The translating procedure is called “Da Pu”. The efficiency of manually Da Pu
is extremely limited, that directly caused the most of ancient Guqin music can only be viewed
in the books rather than be performed.
This project presents a brand-new the digital platform for Guqin Jian Zi Pu based on AI
technologies, as well as R&D and innovation for a smart transcription system based on AI. The
product will create a new commercial market for Guqin-related industry, including the Jian Zi
Pu digital dataset, smart notation, smart translation, Intelligent generation of Guqin music. It
is certainly promote the development of the entire Guqin industry.
56
57
58
59

Conference Programme 2023-01-09

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Conference Programme 2023-01-09

Uploaded by

Copyright:

Available Formats

This page is intentionally left blank

Edited by Chi-hin Leung www.icmdt2023.com

About the Conference.................................................................................................................................... 10

Opening Remarks .......................................................................................................................................... 13

KEYNOTE SPEECHES (in presentation order) .................................................................................................. 15

Virtual Music-Making and Convergent Community during the Pandemic ...................................................... 17

PAPERS (in presentation order and venue) .................................................................................................... 19

Music Education on YouTube and the Challenge of Platformisation .............................................................. 26

An Analysis of Pedagogic and Aesthetic Aspects of Play-A-Long Time............................................................ 29

How Coding and Inquiry Learning Facilitate Music Education ........................................................................ 31

Opportunities for COIL in Doctoral Education ................................................................................................ 35

Instrument-Making as Creativity: A Phenomenology of Digital Musical Instrument Design ........................... 39

Seeking for the Metaverse of Music Education .............................................................................................. 40

WORKSHOPS (in presentation order and venue) ........................................................................................... 51

Establishing Tablet Orchestra at K12 Schools: A Real-life Example................................................................. 52

• Innovative Music Learning

Prof. Evangelos Himonides

Dr. Esther M. Morgan-Ellis

Dr. Alex Ruthmann

Prof. David Gabriel Hebert

Ms. Lima Pau

Mr. Matthew Yau-shing Pun

Mr. Barnabas Fekete

Ms. Yuet-man Wong

Ms. Ka-ming Lee

Dr. Lexuan Zhang

Dr. Steve Sung-chi Ho

Dr. Benny Pan-hang Tang

Ms. Jasman Wing-yan Pang

Ms. Toby Sin-yu Law

Dr. Jason Chi-wai Chen (Hong Kong)

Distinguished keynote speakers, presenters, guests, fellow students, ladies and

This conference aims to bring together prominent academics, researchers,

As a part of STEM+A@Astronomy social innovation project, science-related music pieces

The project contributed to various educational value which includes:

The method of the project includes:

This project can be applied in various scenarios:

The teaching mode is an integrated design of artificial intelligence, digital algorithm,

The purpose of this phenomenological inquiry is to explore the creative experiences of

1. The participants’ pedagogical transformation was an ongoing process,

You might also like