Reading: Perception of basic emotions in music: Culture-specific or multicultural?

Heike Argstatter. Psychology of Music June 16, 2015. Published online before print June 16, 2015, doi: 10.1177/0305735615589214

Questions:

– How are six basic universal emotions (happiness, sadness, fear, disgust, anger, surprise) perceivable in music unknown to listeners with different cultural backgrounds?
– Which particular aspects of musical emotions show similarities and differences across cultural boundaries?

Method:

The Western European participants came from Germany and Norway, and the Asian participants came from Indonesia and South Korea. Professional musicians were instructed to improvise short musical pieces on instruments of their choice in a way that a listener should be able to decode one of the intended basic emotions (happiness, anger, disgust, surprise, sadness, and fear). Duration of the segments was limited to a maximum of 7 seconds. Different instruments. NB! All from western culture!

Answers:

To both questions the answer is: Generally, yes.

Reading: Commentary on “Educational Technologies and the Teaching of Ethics in Science and Engineering”

Servatius, J. D. (2005). Commentary on “Educational Technologies and the Teaching of Ethics in Science and Engineering”. Science & Engineering Ethics, 11(3), 447-449.

She is not arguing with Loui but rather exlaining why ed tech seems an important topic for her. She raises and answers two additional questions:

“why do these technologies enhance learning and how can higher education faculty be supported in the appropriate uses of these technologies?”

Why? two things here: Production and communication. She says that ICT tools are not just for achieving the desired final product but rather a way of doing something. And pupils learn much during the process. The way they communicate via tech tools is close to a real life situation.

How? Good example about older generation: a professor misuses the PowerPoint presentation by filling it with text and lecturing anyway. “Just with the lights off”. :) “/…/ it is important that college administrators recognize this and support faculty members in their journeys to integrate instructional technologies, as Loui says “…not merely to duplicate conventional pedagogies, but to promote intellectual engagement.”

Reading: Code of Technology Ethics for Educators

http://lrs.ed.uiuc.edu/students/bweinert/304code.htm

Preamble states that ‘Not only must educators exhibit ethical excellence in how technology is used in their profession, but educators must instill the same standards in their students.’

I. Application of Technology

Standard 1. Educators shall use district technologies to improve the overall quality of the education they provide.
Standard 2. Educators shall follow the national, state, and district guidelines for infusing technology into their respective curriculum.

II. Access

Standard 1: Educators shall provide equal access to technology for all students.
Standard 2: Educators shall work to provide equitable technology resources to all students.
Standard 3: Educators shall use Internet filters and blocking software in the least restrictive manner possible where the students’ rights to access information without censorship are balanced with their safety and compliance with the federal Child Internet Protection Act (CIPA).

III. Guidelines for students

Standard 1: Educators shall provide an Acceptable Use Policy (AUP) to inform students of the appropriate use of district technologies.

IV. Intellectual Property

Standard 1 Educators shall respect the intellectual property of their peers.
Standard 2: Educators have a responsibility to teach their students about intellectual property.

V. Privacy and Confidentiality

Standard 1: Educators shall monitor student computer use in the least restrictive manner possible where the learners’ safety and privacy rights are balanced.
Standard 2: Educators shall provide general notice of various monitoring activities for all users.
Standard 3: Educators shall provide general notice of accessing and/or deleting of any users’ files.
Standard 4: Educators shall protect personal student information and maintain confidentiality of student records.

VI. Security

Standard 1: Educators shall use only those password-protected school accounts that have been assigned to them.
Standard 2: Educators shall respect the confidentiality of files and resources on district networks.
Standard 3: Educators shall have the responsibility of providing secure controls for all technology resources.
Standard 4: Educators shall report any breach in security to the director of technology, network manager, or other designated administrator.

VII. Maintaining Equipment

Standard 1: Teachers shall be responsible for maintaining the technology equipment that they use.

VIII. Community Relations

Standard 1: Educators shall involve the community in establishing a technological vision for their school district.

Rationale: The community surrounding a school district will be directly affected by the infusion of technology into the educational practice. Students will want additional access outside of the school building, which will impact their homes, other public institutions, and some of the local businesses. In addition, the students attending school will also become influential workers within the community both as part-time employees and potential full-time employees. Thus, the input from the community as to the needed technological knowledge and skills will be invaluable.

Reading: Educational Technologies and the Teaching of Ethics in Science and Engineering

Loui, M. C. (2005). Educational Technologies and the Teaching of Ethics in Science and Engineering. Science And Engineering Ethics, 11(3), 435-446.

Main question: ed tech imposes costs (hard/software, licensing, support, training). Whether the benefits justify these costs is an unsettled question. All instructors should assess the effectiveness of their practices.

Term ‘ed tech’ is defined as ‘electronic information technologies that support education’. Including ed tech tools into teaching practice is not a binary yes/no decision. One should examine carefully which functions he needs and at which level. Three levels: limited (e-mail, course website), moderate (interactive, collaborative), extensive (immersive, constructive, simulations, sophisticated animations). The boundaries are not strict and they change over time. ‘What is considered limited today was state-of-the-art twenty years ago’

Five primary functions of ed tech:

– communication
– production of docs, and other artifacts
– distribution of these artifacts
– archiving class sessions
– access to special resources

2015-05-29-121618_1100x795_scrot

Concerns: ed tech is accelerating and it is harder than ever to predict the costs which may bring the cost effectiveness down. Ethical issue: state-of-the-art tech cost serious money and can exclude poor people from the mainstream education.

Reading: The Origins of Educational Technology’s Professional Ethics: Part Two

Yeaman, A. J. (2005). The Origins of Educational Technology’s Professional Ethics: Part Two — Establishing Professional Ethics in Education. Techtrends: Linking Research & Practice To Improve Learning, 49(2), 14-17.

Factors that influence the tech ethics:
– persistant (traditions, laws, institutional rules and professional licensing)
– changing (economic pressure, gov support, hype cycle)
– other (religion, moral) These are more personal things but professional ethics are based on sociology

Refers to Dewey (1930) who emphasizes learners as individuals. Learning always has to have a direct social application.

Different USA edu organisations wrote their ethics codes in the beginning of 20th century. The first national one dates from 1929.

Closer to ed tech as he cites Howard McClusky (1934): the change is inevitable, considering the effect of cars, radio, TV, cheap printing, motion pictures. Education comes to masses and it is just matter of time.

Reading: The Origins of Educational Technology’s Professional Ethics: Part One

Yeaman, A. (2004). The Origins of Educational Technology’s Professional Ethics: Part One. Techtrends: Linking Research & Practice To Improve Learning, 48(6), 13-14.

A reprint of the Ethics of the Teaching Profession (1929), first national code of ethics for the education profession. It was adopted by the NEA (National Education association of USA) in July, 1929 and reprinted from the Journal of the NEA, March, 1935. Current one dates from 1975 and is here www.nea.org/code.html (has moved)

Three parts:

– Relations with Pupils and to the Community
– Relations to the Profession
– Relations with Pupils and to the Community

Interesting: teacher is always “he”. He should not teach only for money, but at the same time he has to demand a decent salary to be able to live an exemplary life.

Reading: Conflicts of Interests and Conflicts of Commitment

Patricia Werhane, Jeffrey Doering

Eelarvamustevaba teadus võiks ühest küljest olla kõigile ideaaliks, aga päris elus on ka teadlastel isiklikud, professionaalsed ja majanduslikud huvid. Selle vastuolu eetilise ületamise võimalustest räägibki antud artikkel.

Huvide konflikt

Spectra näide huvide konfliktist ja ebaeetilisest teadustööst (ilma eetikakomisjoni loata testimine, osaliselt ka inimeste teadmata, tulemuste paremana näitamine, ebapiisava tõendusmaterjali baasil kommertsialiseerimine). Kogu loo ilmsikstulek võttis muuhulgas väga kaua aega.

Huvide konfliktide tekkimise võimalused: teadlane on korraga mitmes rollis, mille ühildamine polegi kerge. Teadlane kui ärimees, ülemus, alluv, lapsevanem, kolleeg, konkurent, inimene.

Kirjeldab kriteeriume, mille alusel rollide konfliktist tulenevaid eetilisi probleeme hinnata: 1) regulatsioonide alusel 2) tagajärgede alusel 3) potentsiaalselt ebaeetilise teo enda kontekstis

Konfliktid kohustuste vahel

Nt. õppejõud on ühtlasi ka teadlane ja käib mööda konverentse, jättes tudengid piisava tähelepanuta. Ei ole võimalik ühildada nii, et mõlemad kohustused oleksid piisavalt täidetud. Erinevus huvide konfliktist – siin puudub tihti majanduslik mõõde ja konflikt tekib professionaalses plaanis. Seda tüüpi konflikte on veelgi raskem vältida.

Näide: Morton Thiokoli tihendite lugu (Challengeri ebaõnnestunud start). Insenerid olid riskist teadlikud, aga nad olid kahe kohustuse vahel – kohustus oma ettevõtte eest ja ametieetikast tulenev kohustus.

Mõlemat tüüpi konfliktidega tegelemiseks on mitmeid regulatsioone. Nt. ajakirjadel on oma reeglistikud, ülikoolidel, teadusorganisatsioonidel, riikidel. On ajalisi piiranguid, et potentsiaalselt konfliktseid olukordi ajaliselt eraldada. On toimingute läbipaistvust suurendavad meetmed, nt avalikkustamine. On huvide deklareerimine, ennetamaks konfliktsete kohustuste tekkimist (nt ei saa granti, kui see hakkab segama muud professionaalset kohustust).

Lõpetuseks – kõnealused konfliktid omavad suuremat rolli, kui pealt paistab. Nende ennetamisele ja lahendamisele kulub ressursse. Kahjuks regulatsioonidest ei pääse, inimene on nõrk. Ja teadlane on ka inimene :)

Reading: Evolving Technologies Require Educational Policy Change: Music Education for the 21st Century

Crawford, R. (2013). Evolving Technologies Require Educational Policy Change: Music Education for the 21st Century. Australasian Journal Of Educational Technology, 29(5), 717-734.

Abstract

There is growing discussion among education and government authorities on rethinking education in the 21st century. This increasing area of interest has come in response to theevolution of technology and its effect on the future needs and requirements of society. Online applications and social networking capabilities have accelerated in popularity, revealing their potential. The recognised benefits of technology for the use of music education have resulted in collaborative projects and learning and teaching that is not constricted by walls or location. Music education can be accessible to all young people through a combination of social media, blogging and interactive creative musical activities to engage students in all locations, including rural and remote areas. In this 21st century classroom, music education includes online resources, digital learning, in-school workshops, online master classes and live concert streaming where a range of musical styles are explored. This article explores the learning and teaching outcomes of Project Music X, an online music education project designed to fill an important gap in the provision of music education programs in regional and remote schools using a range of web 2.0 technologies. Technology in this context does not only align with the thinking of young people, but also provides a platform for students in remote and rural areas to engage with high quality music education and performance experiences that they would otherwise not have access to.

Reading: In Tune or Out of Tune: Are Different Instruments and Voice Heard Differently?

Geringer, J. M., MacLeod, R. B., & Sasanfar, J. K. (2015). In Tune or Out of Tune: Are Different Instruments and Voice Heard Differently?. Journal Of Research In Music Education, 63(1), 89-101. doi:10.1177/0022429415572025

Main point: diff. instruments are perceived differently to be or not to be in tune with piano acc. Soprano vocalist was heard as more in tune than the violonist and trumpeter. Particulary if the deviation was toward sharp direction.

My first concern when reading this abstract – what temperation did they use for Bach? Answer comes later in text – equal 440Hz. Well, OK, it’s in C major.

Interesting citation: Lindgren, Sundberg (1979) found that experienced listeners accepted errors of 50-70 cents as in tune. Easier to accept are sharp notes, emotionally prominent points, metrically unstressed situations, real audio not synth.

Curious fact: they had hard time finding a soprano who would sing in tune :)

Procedure: they recorded players, then used AutoTune to manipulate the tunings.

Cites Estonians! Vurma, Ross, Kuuda.

Takeaway: when designing automatic feedback for vocalist, be prepared for lots of out-of-tune performances that people claim to be in tune. Need more tolerance for vocal as compared to other instruments.