Initial Ideas

Why the Maker Movement?

Blog Reflection (18.9.17): Something I have been interested in is the Maker Movement. One description of this movement is looking at "different aspects of making, energised by new technologies, and sharing processes and products" (Peppler, Halverson & Kafai, 2016, p. 51). Specifically I want to explore various sound activation methods with Makey Makey and also developing my recording skills. Following a trip to SXSW in Austin at the beginning of the year and seeing the resurgence of virtual reality, the way to capture sound to work in the VR environment was a topic of many developers. Both capturing sound and having users dictate what sound would play pending what they were viewing, was very interesting and got me thinking. It was also a haven for start-ups and makers which was very inspiring.

So why the Maker Movement? Having seen the introduction of programs such as coding in my local primary schools and the greater emphasis on STEAM and project based learning with students “building relationship between objects and concepts” (Blikstein & Worsle, 2016, p. 90) to encourage abstract and practical thinking. I've been interested in how this sort of technology can be utilised and integrated in music education. I specifically like the idea of "enabling technology to bring real world experiences" (Burnard, 2007, p. 197), while ensuring that technology is an enabler not a detractor with integration to deliver "innovative infused curriculum, not an add on" (Wilkes & Wik, 2015).

As Burnard also notes “creativity and technology are vital dimension in transforming learning and teaching practice” (2007, p. 199). The Maker Movement provides this opportunity to incorporate accessible technology with students creativity. Wik and Wikes discuss their model utilising Maker Movement technology and ideas for students to have the ability to test things out, "develop prototypes, get peer feedback and showcases their project" (2015). This fits perfectly with the project based learning approach and will help to develop real-life problem solving skills (Wise, 2011; Berger, 2003).

Seeing the Makey Makey technology gave me some more ideas on how you could integrate sound into various forms of technology or even artwork to where the user then becomes the composer or activator in generating sounds. Pairing that with recording of some musical ideas or small composition loops then adds the layer of recording and musical skills into the maker application.

My first few tasks are to investigate the application and materials that can be used with Makey Makey. I would still love to have this run through the iPad, but not there yet. Concurrently I want to work out how best to record a variety of sounds and composition ideas to program into either Scratch or another form of technology to play the sounds through. Then work out how it's all visually going to come together!

Makey Makey Day 1 .mp4

First Makey Makey experiments

Berger, R. (2003). An Ethic of Excellence: Building a Culture of Craftsmanship with Students.

Portsmouth, UK: Heinemann.

Blikstein, P. & Worsle, M. (2016). Children Are Not Hackers: Building a Culture of

Powerful Ideas, Deep Learning, and Equity in the Maker Movement. In K. Peppler, E. Halverson, Y. B. & Kafai (Eds.) Makeology: Makerspaces as Learning Environments (Volume 1). Abingdon, UK: Taylor and Francis.

Burnard, P. (2007). Creativity and technology: Critical agents of change in the work and

lives of music teachers. In P. Burnard & J Finney, J. (Eds.) Music Education with Digital Technology. London, UK: Continuum International Publishing Group.

Peppler, K., Halverson, E. & Kafai, Y. B. (2016). Makeology: Makerspaces as Learning

Environments (Volume 1). Abingdon: Taylor and Francis.

Wilkes, G. & Wik, J. (2015, Jan 12). The Maker Movement in Schools: TEDx Tokyo Teacher.

Retrieved from https://www.youtube.com/watch?v=fpFnsCBVpH4.

Wise, S., Greenwood, J. & Davis, N. (2011). Teachers’ use of digital technology in

secondary music education: Illustrations of changing classrooms. British Journal of Music Education 28(2), 117-134.

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