STEAM Education in Music: Research, Teaching Design and Resources

Education in Music: Research, Teaching Design and Resources

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STEAM

This publication was supported by the Teaching Development Grant [Project ref. no. T0191] Copyright Š 2018 Department of Cultural and Creative Arts, The Education University of Hong Kong.

All rights reserved.

ISBN 978-988-79103-0-5

Education in Music: Research, Teaching Design and Resources

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STEAM

F O R E W O R D The Hong Kong government, local schools and institutions substantially needs to promote STEAM (STEM + Arts) education to nurture students’ creativity, collaboration and problemsolving skills through the integration of academic disciplines of Science, Technology, Engineering, Arts and Mathematics. This publication aims to share research findings on the implementation of an innovative STEAM course and to provide teaching manual exemplars and resources for in-service music teachers in conducting STEAM activities in classroom music. The scheme of work is aligned with the current Education Bureau Music Curriculum in which STEAM activities are combined with various listening, performing and creating activities. Students will be able to (1) identify music characteristics of electronic music; (2) invent musical instruments through the application of electronic building blocks; (3) create a piece of creative music for the instruments by applying relevant composition techniques; (4) perform or improvise original compositions and (5) appraise and evaluate the creative process and product from STEAM perspectives.

CHI-HIN LEUNG Assistant Professor Department of Cultural and Creative Arts The Education University of Hong Kong

C O N T E N T S Section One

INPUT

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Collaborative Creativity in STEAM Education

Section Two

OUTPUT

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Key Stage 2 Creative Music Making with the Use of Electrical Conductors

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Key Stage 3 Timbral Exploration through Electronic Instrument Making

Teaching Design Exemplars

Scheme of Work | Listening Worksheet Composition and Invention Worksheet Peer Assessment Worksheet

Scheme of Work | Listening Worksheet Invention Worksheet | Composition Worksheet Creating Self-Reflection Worksheet Peer Assessment Worksheet

Section Three

WIRE

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Internet Resources Reading Materials

SECTION ONE INPUT Collaborative Creativity in STEAM Education

COLLABORATIVE CREATIVITY IN STEAM EDUCATION

Empowering Students to Become Music Inventors through the Application of Coding, Electronic Building Blocks and Contemporary Music Composition Techniques

PURPOSE The Hong Kong Education Bureau, local schools and institution substantially needs to promote STEAM education to nurture students’ creativity, collaboration and problemsolving skills through the integration of academic disciplines of Science, Technology, Engineering, Arts and Mathematics. This project aims to provide an environment for students to experience collaborative creativity through innovative STEAM initiatives.

With the funding of Teaching Development Grant (TDG) at The Education University of Hong Kong, various STEAM activities are enabled in the course – ‘Creativity in Music’.

QUESTION • How do students collaborate in a creative music project?

• To what extent does the project create a collaborative learning environment for creative music-making?

CONTENT • An elective course entitled ‘Creativity in Music’ for all undergraduate students in the Education University of Hong Kong • A total of 33 students who meet for three-hour lecture per week in one semester • Conducted in a formal teaching and learning environment for 13 weeks • The class consists of music and non-music major students • Students are equipped with necessary skills in composing, coding, and instrument making with the use of Max 7 and littleBits electronic building blocks.

• Students design their electronic instrument followed by creating a composition • The final product is performed and video-taped by the students

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LITERATURE REVIEW • John-Steiner suggests that ‘Sustained mutually beneficial collaboration provides a mirror to an individual, broadening his or her self-knowledge, which is crucial to creativity’ (Barrett, 2006).

• Collaborative music-making enables students to learn from the differences through the creative process (Saether, 2013).

• Considering that our modern educational system has labelled artificial disciplinary boundaries between arts, science and math, the concept of STEAM is a modern throwback to the notion of educating the ‘whole child’ (Connelly, 2012) for creative expression in multiple media (Buonincontro, 2018).

• As translational disciplines that bridge the generation of new knowledge and its application, art and design would contribute to innovation and economic competitiveness in the manner that STEM fields had accomplished in the past (Allina, 2018).

• Instrument making is frequently excluded from the process of music making, especially in this technological era. In fact, music making should not be limited to performing and creating. Designing an electronic instrument is aligned with the composer’s creative intention (Matsunobu, 2012).

METHODOLOGY The project is a descriptive research to investigate collaborative music-making through STEAM initiated activities. The data of this research were collected through: • Focus group interviews of three groups of students. The objectives were o To gather the information on students’ music profile o To understand the experiences of the STEAM initiative o To understand whether the authentic project provides a collaborative learning environment for creative music-making • Students’ group creative music projects over four weeks were documented • Students’ interviews and reflections were transcribed and analysed through thematic coding

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FINDINGS Students’ Background The research objects are students from different programmes and majors, such as BA (CAC), BA (HOD), BEd (MUS), BEd (ENG), BEd (CL), BME and BALSE, etc. They have different levels of musical training and backgrounds, and several students have not received any formal musical instrument training before. Most of the students have no STEAM experience before this course.

However, some of the students have received composition training.

Experiences of the STEAM initiative Group A • The novel experience in STEAM motivates us to experiment the feasibility of using electronic building blocks to generate unexpected sound effects.

• Creativity is essential in STEAM education. We must practice creative thinking to create new things.

Group B • We formed a new sonority with the application of electronic building blocks rather than following the models to generate existing sounds. The creative process is different because we are creating and not imitating.

Group C • We gained STEAM knowledge in the course • The course enhanced our creativity by providing us with the necessary conditions to create.

• The electronic building blocks and coding software provided huge possibilities in this creative project. We were motivated to formulate the final product.

• Compared with a traditional music lesson, this course applied a student-centred approach that enabled better creative thinking.

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Collaborative Music Making Group A • When we have different comments on the outcome, we will integrate our ideas to create our ideal sound.

• We did not appoint a leader in our group, and thus, no one was responsible in leading the entire progress.

• We shared any ideas we had and synthesised.

Group B • Students handled the parts they were good at and assisted each other.

Group C • Everyone in the group was responsible for researching sound effects. We divided other tasks, such as technical operation of the hardware and software, storyline formulation, video and sound recording and recording the setup of different sound effects. Everyone did their part well and contributed their strength to the group.

• We settled our theme, which was about aliens attacking the Earth. We discussed the possibility of using Logic Pro to combine many layers of sound to flourish the product. In the last stage, we designed the flow of the piece with a meaningful story background.

Students’ Reflection Group A • We stagnated for a long time in the second half because we could not reach a consensus on what to do after the rocket goes to space. In addition, the limitation of the equipment was one of our consideration. Until we were introduced to overtone in a lesson, we determined that one of our groupmates can perform overtone, which evoked the concept of alien searching.

• I really appreciate this composition. In fact, the outcome is more beautiful than I expected.

This is my first time to compose something ‘non-traditional’. The progress is more interesting compared with the traditional composition. I can ignore all the rules and limitation of theories, and create the ‘sound’ to express what I think. This is most attractive part for me in this kind of music.

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Group B • Before we started to create this music project, we thought of a meaningful and creative story because we believe creative music should possess a meaningful message. Therefore, we created the storyline of ‘Life and Death – A Journey of Life’ with a similar narrative structure to ‘The Three Little Pigs’.

• This music work is my first step to break away from my comfort zone. I am looking forward to enhance my creativity after the inspiration of the course and the use of different tools.

Group C • During the process, some of us only used littleBits and some of us connected it to the computer to test various sounds. With the increase of understanding, we created different music pieces, such as the sounds of firing guns, wind, UFO landing or the scream of a monster, to describe the scenes of our story.

• The creative project focused on performing something new and obtaining new elements to create music through different means and expand the possibility. Specifically, many group mates collaborated and several improvisation parts, such as how to describe the war between human soldiers and aliens, were provided.

• Several sounds were created through the instruments. However, we had to combine the designed sounds into a meaningful story and background. Considering that most of the songs we heard contained background and meaning, we investigated the possible sound combination with littleBits, Max 7 and Logic Pro. We also brainstormed and formulated meaningful flows of the alien theme.

• I think we succeeded in creating several ‘new’ music. In this type of music, sound design was important.

• Generally, I am proud of my group in creating such a masterpiece. The product was great because this was a collaborative work and the standard of the work was high. We combined different applications and our talents in the work.

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GROUP CREATIVE WORK DESCRIPTION Group A: Journey to the Stars Journey to the Stars is the story of the adventure of an astronaut in the universe. The music depicts the rocket launch, the long journey in space and the landing on a mysterious planet. littleBits, Max 7 and inside piano were used in this piece.

Group B: Life and Death – A Journey of Life Life and Death – A Journey of Life depicts the life journey from birth to death. This piece is a journey of happiness, sadness, hopefulness and frustration. littleBits, GarageBand and several existing melodies were used in this piece.

Group C: Aliens Attacking the Earth Aliens Attacking the Earth is a fictitious piece that sets in the post 21st century when a large number of aliens invade the Earth with their strange UFOs. The music depicts the invasion of aliens, the battle between aliens and humans, the loss of the humans and the aliens ruling the Earth. LittleBits, Max 7 and Logic Pro were used in this piece.

Video link: https://youtu.be/cs1pWHxj4vw

CONCLUSION • This project provided a collaborative environment for creative instrument making and music making.

• The STEAM initiative was new for the participating students.

• The students appreciated the collaborative process of music-making, especially in the sound exploration and organisation.

• The students worked well in a group without any conflict. They did not reject others’ opinions.

Instead, they transformed the opinions into another form that fitted the artistic goal of the music project.

• Students were stimulated to generate innovative concepts with the application of coding and electronic building blocks.

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IMPLICATION FOR TEACHERS • Students were highly engaged in collaboration and creative activities with the addition of STEAM initiative in a creative project.

• To facilitate the collaborative learning in music, teachers should track their creative process, encourage students frequently to explain their ideas and determine how the created sound served their ideas.

REFERENCE Allina, B. (2018). The development of STEAM educational policy to promote student creativity and social empowerment. Arts Education Policy Review, 119(2), 77-87.

Barrett, M. (2006). ‘Creative collaboration’: An ‘eminence’ study of teaching and learning in music composition. Psychology of Music, 34(2), 195-218.

Connelly, G. (2012). Art puts the STEAM in STEM. Principal, 92(2), 48. Retrieved from http://www.stemedcoalition.org/stem-ed-coalition-activities/ Katz-Buonincontro, J. (2018). Gathering STE(A)M: Policy, curricular, and programmatic developments in arts-based science, technology, engineering, and mathematics education introduction to the special issue of arts education policy review: STEAM focus. Arts Education Policy Review, 119(2), 73-76.

Matsunobu, K. (2012). Instrument making as music making: A slow food approach to musicianship. In A. R. Brown (Ed). Sound musicianship: Understanding the Crafts of Music (pp.

178-188). Newcastle upon Tyne: Cambridge Scholars Publishing.

Saether, E. (2013). The art of stepping outside comfort zones: Intercultural collaborative learning in the international GLOMUS camp. In H. Gaunt & H. Westerlund (Eds).

Collaborative learning in higher music education (pp. 37-48). Surrey: Ashgate Publishing Limited

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SECTION TWO OUTPUT Teaching Design Exemplars

Key Stage 2 Creative Music Making with the Use of Electrical Conductors Scheme of Work Listening Worksheet Composition and Invention Worksheet Peer Assessment Worksheet

Key Stage 3 Timbral Exploration through Electronic Instrument Making Scheme of Work Listening Worksheet Invention Worksheet Composition Worksheet Creating Self-Reflection Worksheet Peer Assessment Worksheet

CREATIVE MUSIC MAKING WITH THE USE OF ELECTRICAL CONDUCTORS Learning phase

Key Stage 2

Learning duration 4 periods, 40 minutes per period Introduction

This unit aids students in understanding the music characteristics and composition device and to nurture their creativity by designing an instrument with electronical conductors for creative performance and creation

Learning goals To appreciate music and create a melody with a tailor-made instrument

Learning Objectives

Students will learn to

• sing in unison with technical accuracy in pitch and rhythm

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• create rhythmic patterns to accompany the song

• design an instrument by using an invention kit - Makey Makey

• play instruments with accurate rhythm

• apply technology to turn conductive objects into touchpad and create a melody

• perform the original melody with Makey Makey and conductive objects

• apply predetermined criteria to appraise compositions and performance using appropriate musical terms

• notate the melody with graphic score/chart

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8. apply predetermined criteria to appraise compositions and performance using appropriate music terms

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7. perform the original melody

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Performing

• Conduct peer assessment on composition and performance based on predetermined criteria

• Identify the changes of tonic and dominant chords

Creating

Assessment

Resources

SP – Developing Music Skills Processes MC – Understanding Music in Context

• Positive and active learning attitude

• Respect and appreciation of others’ work and performance

• Information technology skills

• Assess students’ composition and performances based on predetermined criteria.

• Use listening worksheet to assess students’ • Problem solving skills ability to identify the characteristics of the music.

• Self-learning skills

• Peer assessment worksheet on composition and performance

• Composition and invention worksheet

• Online resource

• Scores, audio/video • Observe students’ recordings and a development in attitudes and generic listening worksheet • Collaboration skills skills to adjust the • Makey Makey • Communication skills learning and teaching strategies • Computer accordingly.

• Critical thinking skills

Generic Skills / Value and Attitudes

• Creativity

Source: Beethoven, Ludwig van (1826). Symphony No. 9 in D minor, Op. 125. Mainz Germany: Breitkopf & Härtel

* Learning Targets: CI – Developing Creativity and Imagination CR – Cultivating Critical Responses in Music

6. notate the melody with graphic score/chart

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5. apply technology to create a melody

1. sing in unison with technical accuracy

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Listening

Total Number of Periods: 4 periods, 40 min per period

• Identify the major • Sing Ode to Joy based • Design an instrument by creating a closed tonality through singing on the given tempo, and listening dynamic and expression circuit through conductive objects with markings the application of Makey • Listen to Ode to Makey and complete Joy from Beethoven's • Perform rhythmic 2. create rhythmic patterns to Symphony No. 9 in D pattern on Makey Makey the composition and accompany the song invention worksheet minor, Op. 125, instruments to complete the listening accompany Ode to Joy • Create an eight-bar worksheet, describe melody in C major and analyse the music • Perform the melody 3. design an instrument by characteristics, such as: composed by students using Makey Makey with the use of Makey • Notate the melody with i. time signature; graphic score/chart Makey ii. melodic contour; iii. rhythm; 4. play the instruments with iv. mood accurate rhythm

Students learn to:

Learning Objectives

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Learning Activities

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Key Stage:

Learning Targets*

To understand the music characteristics and the device of musical development by performing and listening and to nurture creativity by designing an instrument with conductive objectives and by creating a melody

Overall Objectives:

SCHEME OF WORK (PRIMARY SCHOOL P4-6)

LISTENING WORKSHEET NAME:

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) DATE:

CLASS:

1. Listen to Beethoven's Ode to Joy and draw the chart notation below. bar

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f m r d Joy - ful,

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joy - ful

We

a -

dore Thee God of

glo - ry

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Hearts un - fold like

flowers be - fore Thee Hail Thee to

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Lord

of Love

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f m r d

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the

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sun

a - bove

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f m r d Melt the

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clouds of

sin

and

sad - ness Drive the

dark of

doubt

a - way

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f m r d Gi - ver

of

im -

mor - tal

glad - ness Fill

us

with

the

light

of day

2. Please circle or write down the suitable description of the musical characteristics of Ode to Joy. 2/4 Time signature

3/4 4/4 Step

Melodic contour (circle all that apply)

Leap Repetition Minim Crochet

Rhythm

Quaver Semiquaver Dotted Rhythm Triplet

Mood (please describe)

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COMPOSITION AND INVENTION WORKSHEET NAME:

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) DATE:

CLASS: GROUP: GROUP LEADER: GROUP MEMBERS:

Part I – Invent instrument with Makey Makey 1. Find three electrical conductors and draw their shape in the boxes below.

Name of the conductor

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Diagram

2. Plug in Makey Makey on the computer USB port 3. Close pop-up window for any setup 4. Open the app Chamber Music (http://www.nyu.edu/projects/ruthmann/ CMSD/piano/) 5. Connect one end of an alligator clip to ‘Earth’ on the bottom of the front side of Makey Makey.

6. Hold the metal part of the other end of the alligator clip between your fingers.

7. Test the conductors by connecting them to Makey Makey by another alligator clip 8. Design an instrument with the use of Makey Makey and draw the prototype in the box below that includes electrical conductors, Makey Makey, alligator clip and cable.

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9. Consider the musical characteristics of your melody. (cirlce all that apply)

Pitch

High

Medium

Low

Time Signature

2/4

3/4

4/4

Tempo

Allegro

Moderato

Andante

Mood (please describe)

Part II – Melodic Writing Compose a melody with eight measures in two phrases and notate in the chart below.

Test the melody with Makey Makey.

s f m r d

s f m r d

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PEER ASSESSMENT WORKSHEET NAME:

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) DATE:

CLASS: GROUP: GROUP LEADER: GROUP MEMBERS:

Group Assessment Criteria 1

Whether the Makey Makey setting is creative

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Whether the music matches the pre-set mood

3

Whether the music is fluent

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Whether the notation is accurate

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Whether the performance is fluent and accurate

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Whether the overall outcome is satisfactory

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Fill in the marks of each group.

Marks (1 = lowest; 5 = highest)

OVERALL PERFORMANCE/ OTHER COMMENTS:

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TIMBRAL EXPLORATION THROUGH ELECTRONIC INSTRUMENT MAKING Learning phase

Key Stage 3

Learning duration 8 periods, 40 minutes per period Introduction This unit nurtures the creativity of students through

STEAM-integrated listening, performing and creating activities Learning goals

To nurture students’ creativity and critical response in music through innovative STEAM activities and to enhance their understanding of musical characteristics in electronic music through performing and listening

Learning Objectives

Students will learn to

• describe and analyse electronic music in terms of pitch, rhythm, timbre, notation and mood

• use the appropriate style of interpreting graphic notation with electronic building blocks

• design an electronic instrument with suitable controller

• apply technology to create a composition

• perform the original composition

• develop a list of criteria for appraising compositions and performance

• notate the composition with the graphic score

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Learning Objectives Performing

Creating

7. develop a list of criteria for appraising compositions and performance

1. describe and analyse electronic music with suitable musical terms

Sources: Ligeti, György (1958). Artikulation. Mainz Germany: B. Schott's Söhne

CI – Developing Creativity and Imagination CR – Cultivating Critical Responses in Music

• Conduct peer assessment on composition and performance based on predetermined criteria

• Information technology skills

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• Observe students’ development in attitudes and generic skills to adjust the learning and teaching strategies accordingly.

Assessment

• Electronic building blocks

• Scores, audio/video recordings and a listening worksheet on Ligeti’s Artikulation

Resources

• Use listening worksheet • Computer to assess students’ ability to identify • Online resource the characteristics of electronic music.

Mathematical skills • Invention worksheet • Assess oral presentation Problem solving skills • Composition worksheet • Assess students’ Self-learning skills • Self-reflection worksheet composition and performances based on for creation Self-management skills predetermined criteria.

• Peer assessment Respect for and worksheet on appreciation of others’ composition and work and performance performance Positive and active learning attitude

• Critical thinking skills

• Communication skills

• Collaboration skills

• Creativity

Generic Skills / Value and Attitudes

SP – Developing Music Skills Processes MC – Understanding Music in Context

• Listen to Ligeti’s • Create an electronic • Perform Ligeti’s Artikulation with the instrument in Artikulation based graphic score, complete group from on the graphic the listening worksheet scientific, technological score with and describe and analyse electronic and mathematical the music characteristics, perspectives and instruments such as: complete the invention 2. use appropriate style to i. pitch; worksheet, such as: • Perform the workinterpret graphic notation with ii. rhythm; i. frequency of pitch in-progress by electronic instruments iii. timbre; ii. signal generators classmates iv. graphic notation; iii. controllers 3. design an electronic instrument v. mood iv. modulators • Perform the with the use of the electronic v. modifiers compositions in building blocks with suitable groups controller • Develop a list of criteria for • Create a short assessing compositions composition in groups 4. apply technology to create a and performances, and complete the composition for the electronic such as: composition planning instrument i. cohesion ofcomposition worksheet and title/idea ii. structure and duration • Make a brief oral 5. notate the composition with of the composition presentation on graphic score iii. appropriate instrument instrument-building designed with suitable and creation process performance ritual 6. perform the original iv. accuracy of the graphic composition notation v. accuracy of rhythmic, pitch and dynamic in the performance

Listening

Learning Activities

To nurture students’ creativity and critical response in music through innovative STEAM activities and to enhance their understanding of musical characteristics in electronic music through performing and listening 3 Total Number of Periods: 8 periods, 40 minutes per period

Students learn to:

* Learning Targets:

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CR MC

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Learning Targets*

Overall Objectives:

Key Stage:

SCHEME OF WORK (SECONDARY SCHOOL S1-3)

LISTENING WORKSHEET NAME: (

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CLASS: GROUP: GROUP LEADER: GROUP MEMBERS:

Learning focus: Musical characteristics Music: Ligeti’s Artikulation 1.

Listen to Ligeti’s Artikulation and circle the suitable musical characteristics.

Leap Melody motion

Step Repetition

Regular Rhythm

Irregular Syncopation Non-metric

Texture

Thick Thin

2.

How is the timbre of the piece?

3.

How is the atmosphere of this piece?

4.

Does the graphic notation matches the music?

5.

What are differences of Ligeti's Artikulation from traditional instrumental music?

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INVENTION WORKSHEET NAME: (

) DATE:

CLASS: GROUP: GROUP LEADER: GROUP MEMBERS: 1. PLANNING i. ii. iii.

I will invent What will it do?

Why did you choose that idea?

2. REALISATION Draw the prototype and indicate the electronic building blocks you have used for your instrument invention.

i.

Describe the timbre of the invented instrument?

3. REFLECTION

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i.

How does the invented instrument serve your ideas?

ii.

Are you satisfied with the design of your invention?

iii.

What are your constraints in regard to group collaboration and instrument design?

COMPOSITION WORKSHEET NAME: (

) DATE:

CLASS: GROUP: GROUP LEADER: GROUP MEMBERS: 1.

Title of the piece:

2.

Describe the idea of the composition.

3.

Plan your group composition project, and circle the music elements that apply.

Sound source(s) Tonality Tempo Change of tempo

Human voice

Electronic Building Blocks

Instrumental: Major

Minor

Pentatonic

Moderato

Andante

Others: Allegro No

Yes:

Texture

Thick

Medium

Sound effects

Filter

Delay

Atmosphere

Thin

Relaxing

Calm

Exciting

Vivid

Expressive

Graceful

Psychedelic

Sorrow

Horrifying

Others:

4.

Duration:

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GRAPHIC NOTATION Plan and draw the musical events by using any shapes in the diagram below.

EVENT

TIME

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SELF-REFLECTION WORKSHEET FOR CREATION NAME: (

) DATE:

CLASS: GROUP: GROUP LEADER: GROUP MEMBERS: 1.

Write down the title of the piece.

2.

Write down the ideas of the piece.

3.

How do the ideas develop?

4.

Introduce the characteristics of the piece.

5.

Do you think the music/sound design is cohesive with the title? Why?

6.

Do you think the melody/sound effect created the mood effectively?

7.

Are you satisfied with your composition? Why?

8.

What challenge did you encounter in the creative process? How did you solve the challenge?

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PEER ASSESSMENT WORKSHEET NAME: (

) DATE:

CLASS: GROUP: GROUP LEADER: GROUP MEMBERS:

Group Assessment Criteria 1

Whether the music/sound design is cohesive with the title

2

Whether the music is structured in the set duration

3

Whether the invented instrument serves the music ideas

4

Whether the musical ideas developed effectively

5

Whether the notation is accurate

6

Whether the performance is fluent and accurate

1

2

3

5

6

Fill in the marks of each group.

Marks (1 = lowest; 5 = highest)

OVERALL PERFORMANCE/ OTHER COMMENTS:

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SECTION THREE WIRE Internet Resources

Reading Materials

I N T E R N E T R

E

S

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U

R

C

E

S

Listening The Guardian: Symphony guide: Beethoven's Ninth ('Choral') (With audio) György Ligeti’s Artikulation (with score and audio)

https://www.theguardian.com/music/tomserviceblog/2014/ sep/09/symphony-guide-beethoven-ninth-choral-tom-service https://blogthehum.wordpress.com/2016/04/05/gyorgyligetis-artikulation-with-score-and-audio/ http://www.londonsinfonietta.org.uk/stories/turning-pointsligeti

London Sinfonietta: Turning Point – Ligeti

Electronic Building Blocks littleBits

http://littlebits.com/education

littleBits’s Educator Guide

https://d2q6sbo7w75ef4.cloudfront.net/littleBits-educatorsguide-8-2016.pdf

Makey Makey

https://makeymakey.com/

Coding Max

https://cycling74.com/products/max/

Scratch

https://scratch.mit.edu/

R

E

M

A

A T

E

D

I

R

I

N A

G L

S

Book/Serial Title

Author

Publisher

Year

From STEM to STEAM

David A. Sousa and Tom Pilecki

Corwin

2013

Foundations of Music Technology

V. J. Manzo

Oxford University Press

2016

LittleBits

Amber Lovett

Ann Arbor, Cherry Lake Publishing 2016

Makey Makey

Sandy Ng

Ann Arbor, Cherry Lake Publishing 2017

Max/MSP/Jitter for Music: A Practical Guide to Developing Interactive Music V. J. Manzo Systems for Education and More STEAM Makers – Fostering Creativity and Innovation in the Elementary Jacie Maslyk Classroom

2011

Corwin

2016

The Big Book of Maker Space Projects

Colleen Graves and Aaron Graves

McGraw-Hill Education

2017

The Oxford Handbook of Technology and Music Education

Alex Ruthmann (editor) and Oxford University Press Roger Mantie (editor)

2017

Understanding Contemporary Music – A Teaching Manual for Secondary and Sineng He Primary School Teachers

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OUP USA

The Chinese University Press

2006

BIOGRAPHY CHI-HIN LEUNG Principal Author

Dr Chi-hin Leung’s compositions mix elements of East and West and reveal the composer’s diverse cultural background and his particular interest in timbral and textural explorations. His compositions have been featured as part of the ISCM World New Music Days, the UNESCO International “Arts for Peace” Festival, the International Rostrum of Composers, International Electronic Music Week, the World Choir Games, the International Handbell Symposium, the ISME World Conference on Music Education, the Asian Recorder Festival, the Singapore Saxophone Symposium, the Summa Cum Laude International Youth Music Festival Vienna, Musicarama and the Hong Kong Schools Music Festival.

Leung was a composer at the Oxford University Press, author at Creative Notes and Keys to Music of the Hong Kong Philharmonic Orchestra, lecturer at the Education Bureau School Collaboration Scheme of Music Training for Senior Secondary Students and instructor at the ISCM Education Music Creativity Campaign. He also provided teacher training on e-learning in music at Education Bureau and schools.

Leung is currently President of the Hong Kong Association for Music Educators, Vice Chairman of Hong Kong Composers’ Guild and Assistant Professor at the Department of Cultural and Creative Arts, The Education University of Hong Kong.

GLORIA WAI-YEE PANG Research Assistant

Gloria Wai-yee Pang is a Research Assistant at the Department of Cultural and Creative Arts, The Education University of Hong Kong. She has served as a Research Assistant for various art projects in different universities. She received her Bachelor of Arts in Music and Master of Art in Cultural Management from The University of Hong Kong and The Chinese University of Hong Kong respectively. Apart from her research on arts, she is also experienced in arts management.

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ACKNOWLEDGEMENT NYU Steinhardt Music Experience Design Lab Dr. Vivian Cheng Dr. Steve Ho Prof. Bo-wah Leung Dr. Koji Matsunobu Ms. Lok-yan Ng Dr. Alex Ruthmann Mr. Alex Sze Mr. King-ho Tang Ms. Wing-yan Tsui Dr. Paulina Wong

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