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date: 17 February 2020

Abstract and Keywords

This chapter argues that approaches to music education with or without technology have been unhelpfully categorized in binary opposition. An example of this from qualification frameworks in the United Kingdom is explored. Notions of what constitutes a “digital” as opposed a “nondigital” musician are equally flawed. Rather, the chapter argues that a rich account of musical practice and music education should avoid artificial distinctions and focus on what really matters—the music itself. One example of such an approach from the world of electroacoustic music is presented as a potential way forward.

Keywords: educational change, innovation, futurism, scepticism, technological limitations

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