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date: 28 February 2020

(p. xxi) List of Contributors

(p. xxi) List of Contributors

Emily Achieng’ Akuno holds a PhD from Kingston University in Surrey, UK; a Master of Music in performance from Northwestern State University of Louisiana in the USA, and a Bachelor of Education (Arts) degree from Kenyatta University in Nairobi, Kenya. Trained as a performer-educator, Emily is Professor of Music and Executive Dean of the Faculty of Social Sciences and Technology at the Technical University of Kenya in Nairobi, Kenya. A past board member of the International Society for Music Education and chair of the Music in Schools and Teacher Education Commission (MISTEC), her research and publications focus on cultural relevance and its implications for music education, and music making in enhancing children’s literacy skill development.

Julie Ballantyne is known for her work in the areas of music teacher identities, social justice, music teacher education, and the social and psychological impacts of musical engagement. An Associate Professor in music education in the School of Music at the University of Queensland, Australia, she has won commendations and fellowships for her teaching, and she holds leadership positions with organizations such as the International Society for Music Education. She has published work in key journals and has coedited the book Navigating Music and Sound Education. She enjoys teaching preservice and in-service teachers at the bachelor’s and master’s levels, as well as supervising several PhD students.

Joe Berkovitz is the founder of Noteflight, which launched the first web-based application for creating, sharing, and consuming traditional music notation. He also cochairs the W3C Web Audio Working Group and the Music Notation Community Group. With over 35 years of experience in the software industry, he served as Senior Architect at pioneering web application company ATG. At the Education Development Corporation, he led the software design team for IBM’s constructivist “Math and More” math curriculum. He is a frequent and sought-after speaker at conferences on the web platform. He studied piano and composition at New England Conservatory of Music.

Ryan Bledsoe is a doctoral student in music education at Arizona State University. She specializes in early childhood music education and has worked with infants through middle school students in Texas, Arizona, and Florida. Her articles have been published in General Music Today and the Arizona Music News, and she is an active conference presenter. Her research interests include creativity, makerspaces, and designing electronic instruments with young children. She shares her work with other educators on her website: (p. xxii)

John-Morgan Bush is the Executive Director of the String Project at the University of Massachusetts, Lowell, and is a music education faculty member in the university’s Music Department. He also serves on the executive board of the National String Project Consortium. Before joining the faculty at UMass Lowell, he served as Director of education at the Little Orchestra Society and managed music education engagement for thousands of New York City public school children, parents, and senior citizens. In 2012 he founded the Tuxedo Revolt, an arts consultancy and think tank that reimagines how to connect today’s audiences with live music.

Jason Chen graduated from the University of Missouri-Kansas City Conservatory of Music in 1995 with a BMus degree, majoring in composition and piano with a 4-year scholarship, and received his MA and PGDE from Hong Kong Baptist University. Jason is currently Assistant Professor at the Education University of Hong Kong. He has a PhD in music technology from the Royal Melbourne Institute of Technology University, Australia, where he researched composition for film and media. His articles have been published by top-ranked journals, including the International Journal of Music Education, Research Studies in Music Education, and Music Education Research.

Carlos Chirinos-Espin is Clinical Assistant Professor of music business at New York University. He has been a social entrepreneur, researcher, and consultant in music and media in emerging markets in Africa and Latin America. He works in the fields of music, communication, and social change, and creates public health awareness campaigns using music, radio, and TV. In 2015 he received the Ebola Grand Challenge Award from the White House Office of Science and Technology Policy, Centers for Disease Control, and the U.S. Department of Defense for the development of Africa Stop Ebola, a global fundraising and awareness campaign about Ebola in West Africa. Before relocating to New York University, he was based at the School of Oriental and African Studies (SOAS), University of London.

Smaragda Chrysostomou is a Professor of Music Pedagogy and Didactics, Department of Music Studies, National and Kapodistrian University of Athens, Greece, where she teaches undergraduate and postgraduate courses. She also teaches at the Distance Learning MA Course on Music Education, University of Nicosia, Cyprus. She was one of the key experts responsible for the new National Curricula for Music in both Greece and Cyprus. She leads the Aesthetic Education Team in the nationwide project for media-enriched textbooks and learning objects’ repository. She is a Board Member of the International Society for Music Education (ISME). More information and publications can be found at and

Donald DeVito is a music and special education teacher at the Sidney Lanier Center School for students with disabilities in Gainesville, Florida. He was a 2014–16 International Society for Music Education board member and 2011 National Council for Exceptional Children Teacher of the Year (Special Education). Dr. DeVito publishes extensively on networking universities, schools, and community-based music programs for the benefit of children with special needs throughout the world. He is developing (p. xxiii) research at the Notre Maison Orphanage in Haiti for children with disabilities. He received his PhD from the University of Florida and is an online facilitator at Boston University.

Jay Dorfman is Associate Professor and Coordinator of Music Education at Kent State University. His writing has been published in several scholarly journals. He is the author of Theory and Practice of Technology-based Music Instruction (Oxford University Press, 2013). He is a former president of the Technology Institute for Music Educators (TI:ME). His research interests include the uses of technology in music teaching and learning; instrumental music teacher education; and comprehensive and interdisciplinary approaches to music education. He holds BM and MM degrees from the University of Miami (Florida) and a PhD from Northwestern University.

Barbara Freedman, named the 2012 TI:ME Technology Teacher of the Year, has been teaching Electronic Music and Audio Engineering at Greenwich High School in Connecticut since 2001 and is the author of Teaching Music Through Composition: A Curriculum Using Technology (2013). She is also a technology trainer, leads professional development workshops around the country and is a consultant to schools and districts on building technology labs and integrating technology into the curriculum. Barbara is the Co-President of the Music Educator Technologists Association/Technology Institute for Music Educators (META/TI:ME), Connecticut Chapter. She holds a Bachelor of Science and Master of Music in Performance from Brooklyn College Conservatory of Music City University of New York and Professional Studies Diploma from the Mannes College of Music. Barbara performs regularly with the Ridgefield and Bridgeport Symphonies. She studied conducting at the Hartt School of Music, Westminster Choir College, and The Julliard School. Barbara’s motto, “Teach music. The technology will follow.” has become the rallying cry for music technology teachers around the world.

Marina Gall has served as Lecturer at the University of Bristol since 1999. For 16 years prior, she taught music at both primary and secondary levels. Currently she coordinates the one-year initial teacher education program for secondary school music teachers. She is also a board member of the European Association for Music in Schools. Her research focuses on children’s use of music technologies in and outside the classroom. Her current work forms part of a large-scale project called Getting Things Changed -Tackling Disabling Practices: Co-production and Change (see In this project she is exploring the ways in which new music technologies are helping disabled young people make music and express themselves.

Patricia A. González-Moreno is Professor of Music Education at the Autonomous University of Chihuahua, Mexico, where she teaches courses in music, music education, educational psychology, and philosophy (Faculty of Arts and Faculty of Literature and Philosophy). She also supervises graduate student work at Boston University and the National Autonomous University of Mexico. Before earning her PhD in Music Education from the University of Illinois, she taught general music in basic education for (p. xxiv) seven years. She also holds degrees in arts and administration. Her published research includes studies on motivation, creativity, teacher education, higher music education, knowledge mobilization, and professional development. In 2013, she was acknowledged as National Researcher, by the National Council for Science and Technology in Mexico (2013–2019). She has served as a Board Member of the International Society for Music Education and chair of the ISME Advocacy Standing Committee (2012–16).

Gena R. Greher is Professor of music education at the University of Massachusetts, Lowell. Her research interests focus on creativity and listening skill development and the influence of integrating multimedia technology in urban music classrooms. Projects include Performamatics, funded by a National Science Foundation grant linking computer science to the arts; Soundscapes, a music technology intervention program for teenagers with Autism Spectrum Disorder; Making Music Count for the Thelonious Monk Institute’s Math Science Music Initiative. Recent awards include being named the 2014–15 Donahue Endowed Professor of the Arts, and a University of Massachusetts Creative Economy Grant - Discovering Cultural Identity & Self Identity: Creating Spaces for Cambodian American Adolescents to Explore Their Cultural and Artistic Heritage. She received her EdD from Teachers College, Columbia University. Previously, she spent 20 years in advertising as a jingle producer and music director.

Ethan Hein is a PhD student at New York University, and adjunct professor of music technology and music education at New York University and Montclair State University. He maintains a widely followed music blog at and has also written for NewMusicBox, Quartz, and Slate. He is an active producer and composer, and you can listen to his recent work at The Groove Pizza project grew out of his MA thesis for the New York University music technology program. A founding member of the university’s Music Experience Design Lab (, he has also contributed to Play With Your Music, the aQWERTYon, and the IMPACT NYU impact conference and workshop. He looks forward to continuing to grow the lab’s suite of online music creation and learning tools.

Evangelos Himonides held the University of London’s first-ever lectureship in music technology education and is now Reader in technology, education, and music at University College London (UCL) Institute of Education. He currently leads the MA in Music Education program at UCL Institute of Education. He is a Chartered Fellow with the British Computer Society. As a musician, technologist, and educator, he has had an ongoing career in experimental research in the fields of psychoacoustics, music perception, music cognition, information technology, human–computer interaction, special needs, the singing voice and singing development. He has developed the Sounds of Intent free online resource:

Matthew Hitchcock is Senior Lecturer in Music Technology and Program Convenor for Bachelor of Music Technology at Queensland Conservatorium Griffith University. He has worked in the music industry as a performing multi-instrumentalist, artistic manager, studio owner, recording engineer, music producer, composer, acoustic (p. xxv) consultant, web designer and software engineer. He has received awards for excellence in teaching from Griffith University and the Carrick Institute, and has a long track record of successes in the music industry prior to joining Queensland Conservatorium.

Gillian Howell is a PhD candidate at Griffith University and adjunct lecturer in Community Music Leadership at Melbourne Polytechnic. Her research investigates music participation in war-affected countries, among newly-arrived refugees in Australia, and in intercultural collaborations. She has worked as a music leader and researcher in post-conflict settings in the Balkans, the Caucasus, South Asia, and South-East Asia, most recently as a 2016 Endeavour Research Fellow investigating music and reconciliation partnerships in Sri Lanka and Norway. She is also an award-winning musician and teaching artist, working with many of Australia’s flagship arts organizations, and was the founding creative director of the Melbourne Symphony Orchestra’s Community Engagement Program. She is a Commissioner of the Community Music Activity Commission of the International Society for Music Education. Further information can be found at

James Humberstone is Senior Lecturer in music education at the Sydney Conservatorium of Music, University of Sydney. As well as focusing on the teaching of composition and technology, James’s research interests cover a broad range of fields, including technology and innovation in education, musicology (experimental music and music composed for children), and nontraditional research outputs as a regularly commissioned composer.

Leah Kardos is a composer-producer making eclectic music that often combines live instrumental performance with technology, location recordings, and found sounds. She enjoys music that explores the communicative powers of timbre and psychoacoustic phenomena, memory and pattern recognition, and the beauty of spaces. She has collaborated with performers and ensembles such as Ben Dawson, R. Andrew Lee, Laura Wolk-Lewanowicz, the Ukulele Orchestra of Great Britain, and Australian chamber orchestra Ruthless Jabiru. She is currently lecturing in music at Kingston University, London, and is a signed artist with contemporary music label Bigo & Twigetti.

Ailbhe Kenny is Lecturer in Music Education at Mary Immaculate College, University of Limerick, Ireland. She holds a PhD from the University of Cambridge, is a Fulbright Scholar and European Institute for Advance Study (EURIAS) fellow. Previous positions held include Research Fellow at Dublin City University, Primary Teacher, and Arts and Education Officer at ‘The Ark’. Ailbhe has led numerous professional development courses and is actively involved in university-community projects, including directing the Mary Immaculate College Children’s Choir. She regularly publishes in international journals, handbooks and edited volumes on music, arts and teacher education. Her first monograph, Communities of Musical Practice, was published by Routledge in 2016.

Benon Kigozi holds a Doctor of Music degree from the University of Pretoria. He is a senior faculty member at the Department of Performing Arts and Film of (p. xxvi) Makerere University, having previously served as Head of Music at Africa University in Zimbabwe. He is President of the Pan African Society for Musical Arts Education, National President of the Uganda Society for Musical Arts Education, and Chair of the Music in Africa Foundation on Education and Content. He is former Board member for the International Society for Music Education, a member of the National Association for Study and Performance of African American Music and member of the Association of International Schools in Africa. His current research is on information and communication technology in music education. He serves on editorial boards and has extensively published articles, books, book chapters, and conference papers.

Samuel Leong (PhD) is Deputy Director of Academic Programs and Educational Innovation at the Hong Kong Academy for Performing Arts. He was Director of the UNESCO Observatory for Research in Local Cultures and Creativity in Education and Associate Dean of Quality Assurance and Enhancement and Head of Cultural and Creative Arts at the Education University of Hong Kong. He has contributed to over 100 publications, including the Journal of Computer Assisted Learning, Educational Psychology and Routledge International Handbook of Creative Learning. His recent research projects focus on Chinese creativity, multisensory arts learning, and innovative digitally enhanced pedagogy for the performing arts.

Chee-Hoo Lum is Associate Professor of music education at the National Institute of Education, Nanyang Technological University, Singapore. He is also Head of the UNESCO-NIE National Institute of Education Centre for Arts Research in Education, part of a region-wide network of observatories stemming from the UNESCO Asia-Pacific Action Plan. His research interests include examining issues around identity, cultural diversity and multiculturalism, technology, and globalization in music education; children’s musical cultures; creativity and improvisation; and elementary music methods. Currently coeditor of the International Journal of Music Education, he has published two edited books and numerous chapters and referred journal articles.

Roger Mantie is Associate Professor at Arizona State University. His teaching and scholarship, informed by his fourteen years as a school music educator, emphasizes connections between schooling and society, with a focus on lifelong engagement in and with music and the arts. He is on the editorial boards of Bulletin of the Council for Research in Music Education, Action, Criticism, and Theory for Music Education, the International Journal of Community Music, the Journal of Popular Music Education, and the Canadian Music Educator, and is co-editor of the Oxford Handbook of Music Making and Leisure (2016). For more, visit

Michael Medvinsky has engaged learner-musicians in creating and expressing through music for 10 years. He earned his Masters of Music in music education from Oakland University, where his focus was general music and music technology. He is currently an instructional technology integrator advising Pre-K–5 teachers on designing learning experiences where experiential learning encourages thinkers to look closely, think deeply, and wonder incessantly. Working in education with an engineering background, (p. xxvii) he advocates the integration of technology and global collaboration into learning environments. He actively shares ideas with practitioners. He coauthored a chapter in Composing Our Future: Preparing Music Educators to Teach Composition (Oxford University Press, 2012).

Bo Nilsson received his doctorate in music education at Malmö Academy of Music, Lund University, Sweden, in 2002. He is Reader in Music Education at the Faculty of Fine and Performing Arts, Lund University, Sweden and Associate Professor at Kristianstad University, Sweden, where he teaches aesthetics and pedagogy in the teacher education program and the public health program. His teaching and research interests are children’s musical creativity, music in special education, popular culture and information and communication technology in music education, and public health. He was a member of the expert group that wrote the current music curriculum for Swedish compulsory school. Bo is also a member of the International Society for Music Educaton (ISME) commission for Music in Special Education, Music Therapy and Music Medicine.

Donald Otoyo Ondieki holds a PhD in Music Performance and Education, a Master of Music in Performance and a Bachelor of Education in Music from Kenyatta University, Nairobi, Kenya. Donald enjoys a wide experience as a performer, educator, researcher and music industry consultant in Kenya. Currently, Donald is the Director of the Permanent Presidential Music Commission, the state department in charge of music in Kenya, the Vice-President of the Pan African Society of Musical Arts Education (PASMAE), and, member of the Kenyan Creative Economy Working Group. Prior to that, he was Senior Lecturer and Chairman of the Department of Music and Performing Arts at the Technical University of Kenya and the Coordinator of the Kenyan Creative Arts National Working Group. His research and publications have focused on the music industry, popular music and contemporary, socio-cultural and technological issues in music education.

Heidi Partti is Acting Professor of music education at University of the Arts Helsinki, Sibelius Academy. Her research interests are initiated by a need to better understand the surrounding culture of music making, learning, and teaching, so as to help the music education profession adapt and understand the rapid changes transpiring in today’s popular and participatory cultures. Her articles and book chapters on topics such as music-related learning communities, digital technology, peer learning, collective creativity, and the development of intercultural competencies in music teacher education have been published in numerous peer-reviewed journals. She is also a coauthor of a book on composing pedagogy.

Kylie Peppler , an artist by training, is an Associate Professor of learning sciences at Indiana University. She engages in research that focuses on the intersection of the visual and performing arts, computation, and out-of-school learning. She is director of the Creativity Labs at Indiana University as well as lead of the MacArthur Foundation’s Make-to-Learn Initiative. Her research has been supported by the National Science Foundation, the U.S. Department of Education, the Wallace Foundation, the Spencer (p. xxviii) Foundation, the Moore Foundation, and the MacArthur Foundation’s Digital Media and Learning Initiative.

Valerie Peters holds bachelor’s degrees in music and education from the University of Manitoba, a master’s degree in music education from the University of Northern Colorado, and a doctoral degree in music education from Northwestern University. She is currently Full Professor of music education at Université Laval, Quebec City. She taught high school music in Montreal for 11 years. She is the recipient of a research grant to study intercultural music education, conducts research on music teacher working conditions, has been awarded an Social Sciences and Humanities Research Council (SSHRC) Insight Grant to study artistic learning and youth arts engagement in a digital age, and has received a Social Innovation Grant to implement a community music curriculum.

Joseph Michael Pignato is a composer, improviser, and music education scholar. He currently serves as Associate Professor in the Music Department at the State University of New York, Oneonta, where he teaches music industry and technology courses and directs two ensembles that perform experimental music and improvised rock. His research interests include improvisation, alternative music education, and music technology. Additional details are available at

S. Alex Ruthmann is Associate Professor of music education and music technology and Director of the program in music education at New York University’s Steinhardt School, where he teaches courses at the intersection of music, education, technology, design, and entrepreneurship. He leads the university’s Music Experience Design Lab (, which researches and codesigns new technologies and experiences for music making, music learning, and music engagement with youth, school, community, and industry partners. At New York University he codeveloped the Play With Your Music massive open online course in collaboration with the MIT Media Lab and P2PU. He works collaboratively with student and faculty researchers in the New York University Music and Audio Research Lab on applying user and experience design methods to music technology applications. He is active in social media; you can follow his curated posts on music learning, teaching, and technology as @alexruthmann on Twitter.

Jonathan Savage is a Reader in education at the Faculty of Education, Manchester Metropolitan University. He is Managing Director of UCan Play, a not-for-profit company ( that provides consultancy, research, and training as well as a point of sale for musical instruments and audio and video technologies. He runs an active blog at and can be followed on Twitter as @jpjsavage.

Gabriel Solis is Professor of music, African-American studies, and anthropology at the University of Illinois, Urbana-Champaign. A scholar of historical ethnomusicology, he has done research in the United States, Australia, and Papua New Guinea. His work focuses on musical racialization as a component of global modernity. In addition to the (p. xxix) books Monk’s Music: Thelonious Monk and Jazz History in the Making (2008), Thelonious Monk Quartet with John Coltrane (2014), and Musical Improvisation: Art, Education, and Society (2009, coedited with Bruno Nettl), he is the author of articles and book chapters that have appeared in such journals as Ethnomusicology, Popular Music and Society, Musical Quarterly, Musicultures, and Critical Sociology.

Sandra Stauffer is Professor of music education at Arizona State University. Her research and writing focus on musical creating, place philosophy, and narrative. She is coauthor and editor with Margaret Barrett, University of Queensland, of Narrative Inquiry in Music Education: Troubling Certainty (2009) and Narrative Soundings: An Anthology of Narrative Inquiry in Music Education (2012). She is also an author for K–8 music texts and online music learning platforms, and she has collaborated with composer Morton Subotnick in the development of his music-creating software for children.

Evan S. Tobias is Associate Professor of music education at Arizona State University, where his research interests and teaching include creative integration of digital media and technology, curricular inquiry, issues of social justice and equity, and integrating popular culture and music in music classrooms. He leads the Consortium for Innovation and Transformation in Music Education (CITME) ( to address how music learning and teaching can impact communities and society and to explore imaginative possibilities. His work on connected learning and creative youth development through the Sound Explorations: Creating, Expressing, Improving Communities project was funded by a 6th Digital Media and Learning Competition grant with support from the MacArthur Foundation. He is active on Twitter as @etobias_musiced and maintains a professional blog at

Rena Upitis earned her doctorate at Harvard University after completing degrees in psychology, law, music, and education. Before securing her current position at Queen’s University, where she has been Full Professor since 1995, she was a Postdoctoral Fellow at MIT. She has secured over $8 million in research funding from government, foundations, and businesses. She has authored or coauthored seven books and has published over 60 peer-reviewed articles. Her most recent book was Raising a School (Wintergreen Studios Press, 2010). She is currently Principal Investigator for the Music Education in the Digital Age project, Transforming Music Education with Digital Tools.

Lauri Väkevä is Professor of music education at the Sibelius Academy of the University of Arts, Helsinki. Coauthor of three books, he has also published book chapters and articles in peer-reviewed journals, as well as presenting papers at international conferences in the fields of music education, musicology, music history, and popular music studies. His main research interests cover African-American music, popular music pedagogy, history of popular music, pragmatist aesthetics, philosophy of music education, informal learning, and digital music culture. Aside from his academic career, his work assignments have covered working as a musician, music journalist, general music teacher, and instrumental teacher. (p. xxx)

Deborah VanderLinde is Associate Professor of music education and Director of the Music Program at Oakland University. She is coeditor of Exceptional Pedagogy for Children with Exceptionalities: International Perspectives (2015). She has also produced “Songs for You and Me,” Illustrated Songs for Learners of All Abilities (iBooks). She teaches graduate and undergraduate educational psychology, elementary and choral methods, and graduate qualitative research. Her research interests include the application of a constructivist approach to teaching and learning in preservice and in-service music teacher education, particularly in classrooms for learners with exceptionalities.

Janice Waldron is Associate Professor of music education at the University of Windsor, teaching music education and ethnomusicology courses. Her research interests include informal music learning practices, social media and music learning, online music communities, vernacular music, and participatory cultures. She has published in Music Education Research, the International Journal of Music Education, and Action, Criticism, and Theory in Music Education, among others, and chapters in the Oxford Handbook of Community Music, The Routledge Companion of Music, Technology, and Education, and CMEA Edition 2015: Music and Media Infused Lives.

David A. Williams is Associate Professor of music education and technology and Associate Director of the School of Music at the University of South Florida. His research interests center on the enhancement of teaching and learning situations in music education using learner-centered and informal learning pedagogies.

Ruth Wright is Associate Professor in the Don Wright Faculty of Music, Western University. She has served as Chair of the Music Education Department (2009–13) and Assistant Dean of research (2013–15) at this institution, where she received her PhD in education in 2006. She views access to socially and culturally inclusive music education as a basic human right for all young people. She is a cofounder, with Dr. Betty Anne Younker and Dr. Carol Beynon, of Musical Futures Canada, an informal learning music program. Her edited book Sociology and Music Education was published by Ashgate in 2010.