1

Does technology help students to achieve high grades in music GCSC and Advance Level
music curriculum exams, with limited knowledge in music theory?

In this short article I hope to discuss widely on music curriculum and argue the benefits and
disadvantages of using the modern technology, especially when pupils are involved in creative
music. How this has hinder students chances of narrowing their knowledge in music rudiments
(Theory). I hope to come up with arguments which students these can be unhelpful in some
ways. Over my past 7 years at this school I have evidence of students achieving very high scores
in their curriculum GCSE and A/L exams. I aim towards finding out and pin point the
possibilities of this curriculum, that children could achieve their unit work targets even with
limited knowledge in music theory and without having to read music from their major
instruments, and how the modern technology has actually helps them to overcome the boundaries
which was not possible before.

Modern technology

When assuming modern technology, the You tube makes a huge impact on peoples lives.
Some suggest it is a miracle! The school in music Curriculum and instrumental teachers use
You tube intensively during the lessons. This gives the opportunity to listen to the same piece
of music with varied interpretations etc. According to my phenomenon, emerge of technology
has brought different dimension to music curriculum but havent made a huge impact to
instrumental lessons. However this has definitely has become the most important development in
curriculum music. Technological developments have brought and changed the teachers cognitive
approach in teaching. The practical changes in the music curriculum as teachers have integrated
new hardware and software into their teaching. Currently the whole school students and teachers
are using Sibelius software to compose and to analysis, create work sheets, writing orchestral
parts etc.. Sibelius dominates as music notation writing software in schools, in UK with just
under 85% of schools making use of this software Savage, J. (2010). Electronic keyboards and
computers have specified children a range of sounds that are often very similar to the ones heard
in popular music, making it possible to relate more closely school music and the world outside.
The ability to create music, layer by layer, to edit any aspect of it and to play it back at virtually
 2

any tempo has meant that children are now able to compose music that they cannot physically
play (see Odam & Paterson, 2000: 19). New technologies have enabled pupils to understand
better the relationship between music and visual images. For example, importing video files into
a sequencing program such as Cubase Nuendo Fruty loops etc..and all the other recording
software gives pupils the possibility of composing music for the moving image in real time,
making musical, artistic and technological decisions. The ability to research musical topics on
the Internet requires pupils to learn research skills, such as selecting relevant material and
rejecting what is immaterial (Crow, 2001: 159). New technologies have also meant changes to
teaching styles and the role of the teacher. Before the creative music developments, whole-class
teaching seemed to have (Cain, T. (2004). According to Cain, T. (2004), the Creative Music
movement has helped to establish new territory for the school music curriculum in the UK.
During a period which spanned three decades (roughly 1960 to1983), Paynter and his colleagues
helped a generation of teachers in the UK to recognize that when freed from the necessity to
follow externally imposed rules, children could work with the raw materials of sound to create
music, very much as they created paintings and other art works. This curriculum development
had a revolutionary quality; it was the subject of fierce debate (Paynter, 1982: 17986).
According to Green, 2001:47, the move has considerably expanded the knowledge and the
interest of the students. Most of these developments was due to a result of the technological
developments (Cain, T. (2004) The School sound recordings were made on reel-to-reel tape and
were edited using scissors and jointing tape (Orton, 1981). In the mid-1980s, a popular music
textbook contained a full-sized reproduction of a musical keyboard inside the cover; the notion
was that pupils would use this silent keyboard to locate pitches, melodies and chords (Reimer et
al ., 1985). And an early textbook for the General Certificate of Secondary Education (GCSE)
suggested using books for researching musical topics (Cain, 1988). Comparing this picture with
modern sampling and editing, the use of MIDI keyboards and the Internet, it is clear that the
changes in the technology available in the classroom have been considerable. Technological
developments have brought with them practical changes in the music curriculum as teachers
have incorporated new hardware and software into their teaching. Electronic keyboards and
computers have given children a range of sounds that are often
very similar to the ones heard in popular music, making it possible to relate more closely school
music and the world outside. The ability to create music, layer by layer, to edit any aspect of it
 3

and to play it back at virtually any tempo has meant that children are now able to compose music
that they cannot physically play (see Odam & Paterson, 2000: 19). New technologies have
enabled pupils to understand better the relationship between music and visual images. For
example, importing video files into a sequencing program such as Cubase gives pupils the
possibility of composing music for the moving image in real time, making musical, artistic and
technological decisions. And the ability to research musical topics on the Internet requires pupils
to learn research skills, such as selecting relevant material and rejecting what is irrelevant (Crow,
2001: 159).
New technologies have also meant changes to teaching styles and the role of the teacher. Before
the creative music developments, whole-class teaching seems to have been the norm, and
Paynters work was influential in effecting a shift in emphasis to group work. Now, more and
more, pupils are working either in pairs or as individuals, each with a workstation and a set of
headphones. This demands a different approach to teaching, and also requires teachers to be
technicians, performing regular maintenance and careful management of resources (Odam &
Paterson, 2000: 35). In addition, the new technologies have rendered public examinations in
music problematic, creating difficulties, for example, in assessing the notation of compositions
(Hodges, 2001). Sampling, sequencing and editing software have made it difficult, perhaps
impossible, to judge the extent to which pupils work is their own, especially when it is done at
home. This is true of composition, but also of performing, in cases when music technology is
offered in place of live performance (see also Byrne & MacDonald,2002). According to
Savage, J. (2007), the use of technology in music has made a profound impact on musicians and
their conceptualization of musical practice. But changes in the wider musical world have not
been reflected by substantial changes in the music classroom.

Benefits in music theory

I feel it is extremely important to learn music theory. According to Alexandra, and Karl Maton
(2008), still there evidence that pupils and teachers believe that instrumental tuition and learning
notation are both essential for GCSE (Wright,2002), Lamont,. The school instrumental teaching
function in isolation from curriculum activity, and this reflect the childrens learning habitat and
 4

definitely this assume that effective teaching takes place. Instrumental students ABRSM
( Associate Board of Royal Schools of Music) music syllabus they have made an attempt to
integrate music theory and practical knowledge, and to my cognitive thinking I feel this helps
students to become familiar with the rudiments, which they will benefit in curriculum music
composing and all the other aspects of musical activities. Research by Shaw et al. (Boettcher,
Hahn & Shaw, 1994; Grandin, Peterson &
Shaw, 1998; Graziano, Shaw & Wright, 1997; Rauscher & Shaw, 1997, Rauscher & Shaw, 1998)
drawing in part from the seminal work of Chase & Simon (1973) on how chess experts process
information, has suggested that cognition in music, mathematics and complex games are
activities which are driven by pattern recognition and manipulation, and as such are affected by
spatial-temporal reasoning ability -Catterall, J., Chapleau, R., & Iwanaga, J. (1999).

GCSC and Advance level music curriculum Examination Boards

Curriculum music GCSC and AS/AL there are popular examination boards. According to
Winterson, J., & Russ, M. (2008) journal ,most students will have followed the Edexcel
specification, though a smaller number will have taken theOxford, Cambridge and RSA (OCR),
Assessment and Qualifications Alliance (AQA), Welsh Joint Education Committee (WJEC) or
Council for the Curriculum Examinations &and Assessment (CCEA) programs. In 2006,
nationwide 55% followed the Edexcel syllabus, 17% OCR, 13% AQA., 9% WJEC and 6%
CCEA.

Overview of the syllabus - GCSE music (General Certificate of Secondary Education)

The Edexcel GCSE syllabus the assessment is sub divided in to three units.

Unit 1 :Performing Music: in this section the student should submit the record One Solo
Performance and One Ensemble performance (The data is collected by the music teacher) and
students should also present the music score or written commentary ( for realisation) of both
performances. 30%.
 5

Unit 2 : Composing Music: In this Unit the students should present Two Compositions or Two
arrangements, or one composition and one arrangement. For this assessment the student should
provide recordings of compositions/ Arrangements and it compulsory to submit notated scores or
commentaries for both compositions/arrangements. 30%

Unit 3: Listening and Appraising: In this the student should have the knowledge and student of
set works in the areas of study. This assessment is divided in to two sections. The section A. the
student should undergo 1 hour and 30 minute written paper and section B, one question from two
optional questions on the set works, requiring extended writing. 40%

OCR (Cambridge and RSA) syllabus for IGSC and GCSC follows a similar syllabus which are
dividen in to Listening (40% written), Performing ( 30%) and Composing ( 30%) .
AQA (Assessment and Qualifications Alliance) follows slightly different assessing system. This
exam has four units. Unit 1, Listening and appraising Music ( written paper. 20%) , Unit 2,
Composing and appraising music ( Externally assessed 20%), Unit 3, Performing Music
(Controlled assessment 40%) and Unit 4, Composing Music ( Controlled assessment 20%).
WJEC (Welsh Joint Education Committee) or Council for the Curriculum Examinations &and
Assessment (CCEA) programs are following a similar path with more emphasis given to
performing and music rudiments knowledge.

Advance Level ( A/L) with AS and A2.

In edexcel- Advance level music is divided in to six units. Below I have mentioned all the
requirements in units and the use of modern technology and theory since my present school
follows the edexcel syllabus and this is by far the dominant according to the above assumptions.

Unit 1:AS: Performing :This unit gives students the opportunities to perform as soloists and/or
aspart of an ensemble. Teachers and students can choose music in any style. Any instrument(s)
and/or voice(s) are acceptable as part of a five-six minute assessed performance. Notated and/or
improvised performances may be submitted.
 6

Unit 2: AS- Composing- This unit encourages students to develop their composition skills
leading to thecreation of a three-minute piece in response to a chosen brief. Students also write a
CD sleeve note to describe aspects of their final composition and explain how other pieces of
music have influenced it.

Unit 3: AS-Developing Musical Understanding-This unit focuses on listening to familiar music

and understanding how it works. Set works from the anthology provide the focus for the first two
sections, through listening and studying scores. It is recommended that students familiarise
themselves with each work as a whole, before learning how to identify important musical
features and their social and historical context. In the third section, students use a score to
identify harmonic and tonal features, and then apply this knowledge in the completion of a short
and simple passage for SATB.

Unit 4:A2- Extended Performance. This unit gives students the opportunities to extend their
performance skills as soloists and/or as part of an ensemble. Teachers and students can choose
music in any style. Any instrument(s) and/or voice(s) are acceptable as part of a 12-15 minute
assessed performance of a balanced program of music. Notated and/or improvised performances
may be submitted.

Unit 5:A2: Composition and Technical Study. This unit has two sections: composition and
technical study.
The composition section further develops students composition skills, leading to the creation of
a final three-minute piece in response to a chosen brief. The technical study section builds on the
knowledge and awareness of harmony gained in Unit 3 section C through the medium of
pastiche studies. Students must complete two tasks in this unit choosing from either one
composition and one technical study or two compositions or two technical studies.

Unit 6: A2-Further Musical Understanding- This unit focuses on listening to music, familiar and
unfamiliar, and understanding how it works. Set works from the anthology, using different
selections from those in Unit 3 provide the focus for much of the unit. It is recommended that
 7

students familiarise themselves with each work as a whole, before concentrating on important
musical features, context and/or elements of continuity and change. Students should also listen to
a wide range of unfamiliar music related to the two compulsory areas of study. They should learn
how to compare and contrast pairs of excerpts, contextualise music and identify harmonic and
tonal features.

AQA ,WJEC and Cambridge examination boards are following almost a similar marking
structure, but they seems to give more emphasis on classical music. However OCR ( Oxford
Cambridge and RSA examinations) syllabus looks very identical and there are opportunities for
non classical students who still want pursue with their area of interest. However in Shepherd,
John, and Graham Vulliamy -1994 journal, The Music Working Group, under the chairmanship
of Sir John Manduell (Principal of the Royal Northern College of Music), published its Interim
Report in February 1991 (DES, 1991a). The report seemed highly unusual in that, in addition to
classical music, it used examples from diverse musical traditions including African, calypso,
brass bands, flamenco, jazz, folk, and varieties of pop and rock music. The reaction to this report
immediately signaled that the substance of the music curriculum was to become exceedingly
controversial. Firstly, the Report contained at the outset an unusually critical letter from Kenneth
Clarke, the Secretary of State for Education. In it he questioned the emphasis which the Working
Group had placed on practical music-making and the apparent neglect of a consideration of
music history and the repertoire (which is to say the history and the repertoire of the music of the
established Western canon):

The curriculum exams can be alienated in to three sections. Performing, Composing and Aural
and theory ( Listening and Appraising).

Performing

Having looked at GCSE and A/L syllabus performance I feel there are many, areas a student
could actually tackle without much traditional training knowledge or by learning to read music.
 8

When I discuss my specialised area the guitar, to my empirical I have evidence that the students (
specially guitar students!) in performance unit, in GCSC and Advance Level, who follows rock
and pop music, and depends solely on alternative music reading formats. Such as tablature
reading, chord charts and listening and watching how to move their fingers through you tube.
However the students who are talented and have extremely good sense in music have achieved
high marks in their curriculum exams. Ex.. in 2012 a student who is extremely good in guitar
playing and did not have interest in improving music reading skill have achieved Trinity Rock
and pop instrumental grade 8 merit and A/L , A+. Conversing with the student about his success
he believes that the instruction videos online and Guitar Pro soft ware (You could download
the tabs and slow down the tempo, on difficult techniques and gradually increase it till it reaches
the required standard). Since it had mentioned in the syllabus that a student should provide the
music (Notation) or an explanation of the piece he, easily avoided producing the notation. This
story seems remarkable achievement from the students end, but I assume, by giving these
opportunities to students to sneak through the requirements without any knowledge in music
rudiments would mean we are generating musicians without sound knowledge in the subject and
it seems unfair for the students who have been working hard throughout their lives to learn to
read music and students without any knowledge given credit without learning the standard
language. The e journal of Tuohy, D. R., & Potter, W. D. (2005, September) discussed the issue
of developing a tablature (Tab) reading to be more precise and accurate which I feel is very much
needed particularly for the self learners. Tablature reading which is available online for free,
which most of the students have access to such as ultimate guitar.com ( This seems to be the
most popular site which most of my students get to learn from). This does not give details such
as dynamics, articulation, rhythm and etc., other than the fret number and the string.
According to my imperial knowledge most of the students fall in to the trap of just playing
through the music and usual end result often end up getting a lower grade for their performance.
But it is clear that without the help from the technology this would not have been possible.
According to Baker, D., & Green, L. (2013) Research from the 1940s (Mainwaring, 1941) has
anticipated various benefits linked to ear playing for instrumentalists and instrumental students.
These include its effect on sight reading (Luce, 1958; McPherson, 1993/1994; Sperti, 1970),
musical memorization (McPherson,1993/1994), performance skills (Glenn, 1999; Haston, 2004)
and wider aural development (Antonell, 2001; Bennett, 2010; Woody & Lehmann, 2010). Priest
 9

(1988, 1989) argued that traditional instrumental teaching methods have meant that playing by
ear has been undervalued, yet all playing can be viewed as by ear, even when notation is
involved. He proposed a model based on imitation and invention. Priests work illustrated that
musical reproductive and creative capacities may lie at the heart of all instrumental musicianship.
Me being an instrumental teacher for a while here in these parts do understand and agree to the
above assumptions , but conversing with the music teachers (Curriculum ) , about the issue of
students who attempts to work through the music by themselves, with the help of the modern
technology, actually does to do well in their performances specially the guitar students.

Composing

In edxcel GCSE syllabus the composing unit the aims are to emphasise the creative aspect of the
music and allows students to enjoy the process of creating music. Students are introduced to the
technical and creative skills required by a composer, but they are encouraged to explore a range
of compositional starting points and investigate a range of techniques for developing and
manipulating ideas, and turn them into completed pieces of music. Students can also explore the
skills needed to arrange music for different musical forces. In order to compose in a particular
style or genre, it is useful to study examples of the music in some detail. Much of the listening
and appraising work for Unit 3 will involve analysis of the set works and these could be used as
models for composing in those particular forms and styles. However, under this specification, it
is permissible to compose in any style or form within the bounds of the dates or subject of each
area of Study. For example, if a student wishes to compose a pastiche Baroque binary form
dance, then they should study examples from the repertoire in this medium. Each piece will be
based on a different area of Study but does not necessarily need to adopt the same structure and
form as one of the prescribed set works studied in Unit 3: Music - Listening and appraising. For
example, in Area of Study 1, the piece could take on any structure found in music during the set
period of 1600-1899, including sonata form and binary form. With Area of Study 2: music in the
20th century, Area of Study 3: popular music in context and Area of Study 4: world music, all
genres and styles which fall under these broad headings will be acceptable. According to my
phenomena, the students often go for option 3 and when they compose music and since they are
using Sibelius soft were in the school to create music ( Most popular in UK and around the
 10

globe) Savage, J. (2010). According to Berkley, Rebecca ( 2004) article about school-based
research project into teaching composing at GCSE, setting this alongside a review of the
literature. It suggests that research into cognition in composing in school students and teaching
composing within a school context may be synthesized by understanding composing as problem
solving.
A study investigated the main issues identified by teachers in the use of information and
communication technology (I&CT) in the music curriculum in Scotland. Teachers' views and
opinions were elicited using a focus group methodology. Main issues emerged within the broad
headings of Curriculum and Pedagogy, and Management and Infrastructure. Generally, teachers
acknowledged the benefits that I&CT brings to their teaching and to the improved learning of
students but remain anxious that the perceived trend toward more use of I&CT in the teaching,
assessment and management of the curriculum will require major strategic planning and
investment by schools and local authorities. Byrne, C., & MacDonald, R. A. (2002).
Demski, J. (2010) Music educators need to reexamine themselves, she says. Why are we not
engaging kids? Why are we not reaching 80 to 90 percent of the student population? Students
are listening to more music, creating more music, and playing more music, but we are not
involved. Its happening at home, on their home computers. I tend to agree with Demskis
thoughts, but these are already trendy in our school environment. And Demski suggests that
Technology allows us the opportunity to teach students with very little musical background by
having them create music and compose music. This allows us to take them through the process
of understanding music and what goes into creating music. The things that students would
typically learn in a performance class like harmony, melody, and rhythm. Its applied learning.
They apply themselves to the practice by actually composing. Further I would agree with
Demski suggestions about the use of the midi. I this way the students wont have to write the
music physically. A digital audio interface device, is called Midi (musical instrument digital
interface) keyboard, notation software, and digital audio workstation software. As its played, it
sends digital information containing the duration and pitch of each note through the digital audio
interface device to the notation software installed on the computer( Sibelius). Notation software
writes the musicians composition into sheet music, as the notes is played, producing a real-
time record of the work that can then be edited and revised. From there, the composition is
exported to the instrumentation software, where the user can access a library of digital
 11

instruments to flesh out the composition, or even add more live instrumentation by connecting
a guitar to the digital audio interface device. In Evans district, the computers in the middle
school music labs are equipped with two notation software products from Avid Technology
Groovy Music and Sibelius; his high school students use Sibelius along with an audio production
and instrumentation software package called Pro Tools, also from Avid. The Pro Tools software
is included with the M box 2 Mini digital audio interface. Moreover Demski, J. (2010 suggests
that students compose music using Garage Band, which comes installed on all Apple
computers (These are installed in the primary computer presently with M audio soft ware).
Composing gives students a different dimension to students learning to explore music from the
inside out and to discover inner worlds of musical expression and meaning. Self comments that
composing Creates, a living world of music . . . in which the participants are able to enjoy
moments of aesthetic pleasure and emotional discovery that are unlike any other, and expressive
of inner feelings well beyond the power of words. (Self 1986: v) When asked `How does
learning to compose at GCSE contribute to a musical education?' teachers responded positively.

Listening and Appraising

Listening and appraising (Aural and theory) unit. According to the syllabus this seems to provide
adequate knowledge to students music growth. Optimistically the students seem learn this topic,
with less interest, since this involves more detailed music knowledge. However the students who
are in to self learning, are more reluctant and adopts well according to the curriculum teachers at
school. However the theory involved in GCSE seems rather more aural based than learning about
music rudiments intensively. Such as ABRSM (Associate Board of Royal schools of Music) and
TCL (Trinity College London) (Music exams syllabuses which instruments students follow at
this school) music theory exams. These music exams focus towards improving students
knowledge in music rudiments. The curriculum music theory is more aural based and students
are exposed to more stylistic awareness. I feel its really important that students is aware of notes
writing physically and learn about the scales, key signatures and intervals along with the stylistic
awareness. Which I feel is lacking in curriculum music listening and appraising.
 12

Summary

By taking above assumptions, surveys and literature in to account, I strongly believe, that
without the technology the curriculum music would not have its centralized learning for all the
students. The access of technology has given students to create and explore their musical ideas at
liberty. However this does not guarantee that the students would enhance their knowledge fully.
This would not be ideal for students who aim to pursue their carrier as music professional,
though they might be very successful in music technology or recording. I would suggest that
there should be few certain boundaries for students to undergo certain area which might become
good learning process for them.
Curriculum change is necessary if the world of the classroom is to keep pace with the world
outside. And it is also important to have a clearly defined theory which allows teachers to
commit themselves intellectually to the change. Inspired very largely by John Paynter, the
creative music movement revolutionised the music curriculum. In the process, however, it
created opposing groups of teachers, some of whom embraced its approach to composition while
others did not. A basis for Music Education (Swanwick, 1979) helped to bridge the gap between
the groups with a theory that located composition within the music curriculum as a whole. This
is the sort of thing I believe we need with regard to music technology, Cain, Tim ( 2004).
Lamont, Alexandra, and Karl Maton ( 2008) suggests, that the reason for the low take-up rate for
GCSE music may be its underlying principles of achievement and neglected knowledge of
theory.

References

Gehrkens, Karl Wilson. "The Development of a College Curriculum in Music

Education." Music Educators Journal (1960): 31-34.
Swanwick, Keith. "Music curriculum development and the concept of features."
Journal of Aesthetic Education (1991): 147-162.
 13

Millican, J. Si. "Describing Instrumental Music Teachers Thinking Implications

for Understanding Pedagogical Content Knowledge." Update: Applications of
Research in Music Education 31.2 (2013): 45-53.
Shepherd, John, and Graham Vulliamy. "The struggle for culture: A sociological
case study of the development of a national music curriculum." British Journal of
Sociology of Education 15.1 (1994): 27-40.
Lamont, Alexandra, and Karl Maton. "Choosing music: Exploratory studies into
the low uptake of music GCSE." British Journal of Music Education 25.03
(2008): 267-282.
Berkley, Rebecca. "Teaching composing as creative problem solving:
Conceptualising composing pedagogy." British Journal of Music Education 21.03
(2004): 239-263.
Berkley, Rebecca. "Why is teaching composing so challenging? A survey of
classroom observation and teachers' opinions." British Journal of Music
Education 18.02 (2001): 119-138.
Lamont, Alexandra, et al. "Young people's music in and out of school." British
Journal of Music Education 20.03 (2003): 229-241.
Cain, Tim. "Theory, technology and the music curriculum." British Journal of
Music Education 21.02 (2004): 215-221.
Savage, Jonathan. "Reconstructing music education through ICT." Research in
Education 78.1 (2007): 65-77.
Hargreaves, David J., and Nigel A. Marshall. "Developing identities in music
education." Music Education Research 5.3 (2003): 263-273.
Byo, Susan J. "Classroom teachers' and music specialists' perceived ability to
implement the national standards for music education." Journal of Research in
Music Education 47.2 (1999): 111-123.
Beigi, Homayoon Sadr Mohammad. "Method and system for writing common
music notation (CMN) using a digital pen." U.S. Patent No. 6,538,187. 25 Mar.
2003.
Aucouturier, Jean-Julien, and Franois Pachet. "Representing musical genre: A
state of the art." Journal of New Music Research 32.1 (2003): 83-93.
Hargreaves, David J., Dorothy Miell, and Raymond AR MacDonald. "What are
musical identities, and why are they important." Musical identities (2002): 1-20.
Green Lucy. How Popular Musicians Learn: A Way Ahead For Music Education ;
 14

Music Instruction And Study ;England Ist Part Of: Music and Letters, 2004,
Vol.85(1), pp.141-144
Taylor, Timothy D. Strange sounds: Music, technology and culture. Routledge,
2014.
Stewart, Lauren, et al. "Brain changes after learning to read and play music."
Neuroimage 20.1 (2003): 71-83.
Weinberger, Norman M. "The music in our minds." Educational Leadership 56.3
(1998): 36-40.
Gordon, Edwin E. "ALL ABOUT AUDIATION AND MUSIC APTTIUDES."
(1999).
Standley, Jayne M. "Does music instruction help children learn to read? Evidence
of a meta-analysis." Update: Applications of Research in Music Education 27.1
(2008): 17-32.
Zinar, Ruth. "Reading Language and Reading Music: Is There a Connection?."
Music Educators Journal (1976): 70-74.
Green, Lucy. Music, informal learning and the school: A new classroom
pedagogy. Ashgate Publishing, Ltd., 2009.
Baker, D., & Green, L. (2013). Ear playing and aural development in the
instrumental lesson: Results from a case-control experiment. Research Studies
in Music Education, 1321103X13508254.
Demorest, Steven M., and Steven J. Morrison. "Does music make you smarter?."
Music Educators Journal (2000): 33-58.
Winterson, J., & Russ, M. (2008). Understanding the transition from school to
university in music and related subjects.
Tuohy, D. R., & Potter, W. D. (2005, September). A genetic algorithm for the
automatic generation of playable guitar tablature. In Proceedings of the
International Computer Music Conference (pp. 499-502). sn.
Catterall, James, Richard Chapleau, and John Iwanaga. "Involvement in the arts
and human development: General involvement and intensive involvement in
music and theater arts." Champions of change: The impact of the arts on learning
(1999): 1-18.
Savage, Jonathan. "A survey of ICT usage across English secondary schools."
Music Education Research 12.1 (2010): 89-104.
Savage, Jonathan. "Reconstructing music education through ICT." Research in
Education 78.1 (2007): 65-77.
 15

Byrne, C., & MacDonald, R. A. (2002). The use of information & communication
technology (I&CT) in the Scottish Music Curriculum: a focus group investigation
of themes and issues. Music Education Research, 4(2), 263-273.
Demski, Jennifer. "How Music Teachers Got Their Groove Back Music
Instruction Goes Digital." The Journal 37.9 (2010): 26-28.