John Finney is Senior Lecturer in Music Education at the Faculty of Education, University of Cambridge, UK. Pamela Burnard is Professor of Arts, Creativites and Education at the University of Cambridge, UK. Recent publications include Musical Creativities in Practice (2012), Teaching Music Creatively (with Regina Murphy, 2013) and Developing Creativities in Higher Music Education (2013). Sue Brindley is Senior Lecturer in Education at the University of Cambridge, UK. Anthony Adams was formally lecturer in English and Education at the School of Education in the University of Cambridge.

'A welcome addition to the literature on digital technology and music education. For those studying to be teachers, or researching music education at university, it will serve as an important reference work. I would also like to hope that it could influence classroom practice.' Bill Crow in Music Education Research

• Series Foreword \ Acknowledgements \ Introduction\ Part I: Changing Identities \ 1. Music Education as Identity Project in aWorld of Electronic Desires John Finney \ 2. Perspectives from a New GenerationSecondary School Music Teacher Hannah Quinn \ 3. The Gender Factor: TeachingComposition in Music Technology Lessons to Boys and Girls in Year 9 Louise Cooper\ 4. Finding Flow through Music Technology Serena Croft \ 5. The Mobile Phoneand Class Music: A Teacher's Perspective Alex Baxter \ Part II: ResearchingDigital Classrooms \ 6. The DJ Factor: Teaching Performance and Compositionfrom Back to Front Mike Challis \ 7. Composing with Graphical Technologies:Representations, Manipulations and Affordances Kevin Jennings \ 8. NetworkedImprovisational Musical Environments: Learning through On-line CollaborativeMusic Making Andrew R. Brown and Steven Dillon \ 9. Music e-LearningEnvironments: Young People, Composing and the Internet Frederick A. Seddon \ 10.Current and Future Practices: Embedding Collaborative Music Technologies in SecondarySchools Teresa Dillon \ Part III: Strategies for Change \ 11. Strategies forSupporting Music Learning through On-line Collaborative Technologies S. AlexRuthmann \ 12. Pedagogical Strategies for Change Jonathan Savage \ 13. NewForms of Composition, and How to Enable Them Ambrose Field \ 14. MusicEducation and Training: ICT, Innovation and Curriculum Reform Richard Hodges \ 15.Strategies for Enabling Curriculum Reform: Lessons from Australia, Singaporeand Hong Kong Samuel Leong \ 16. Creativity and Technology: Critical Agents ofChange in the Work and Lives of Music Teachers Pamela Burnard \ Contributors \Glossary \ Index

John Finney is Senior Lecturer in Music Education at the Faculty of Education, University of Cambridge, UK. Pamela Burnard is Professor of Arts, Creativites and Education at the University of Cambridge, UK. Recent publications include Musical Creativities in Practice (2012), Teaching Music Creatively (with Regina Murphy, 2013) and Developing Creativities in Higher Music Education (2013). Sue Brindley is Senior Lecturer in Education at the University of Cambridge, UK. Anthony Adams was formally lecturer in English and Education at the School of Education in the University of Cambridge.

'A welcome addition to the literature on digital technology and music education. For those studying to be teachers, or researching music education at university, it will serve as an important reference work. I would also like to hope that it could influence classroom practice.' Bill Crow in Music Education Research

• Series Foreword \ Acknowledgements \ Introduction\ Part I: Changing Identities \ 1. Music Education as Identity Project in aWorld of Electronic Desires John Finney \ 2. Perspectives from a New GenerationSecondary School Music Teacher Hannah Quinn \ 3. The Gender Factor: TeachingComposition in Music Technology Lessons to Boys and Girls in Year 9 Louise Cooper\ 4. Finding Flow through Music Technology Serena Croft \ 5. The Mobile Phoneand Class Music: A Teacher's Perspective Alex Baxter \ Part II: ResearchingDigital Classrooms \ 6. The DJ Factor: Teaching Performance and Compositionfrom Back to Front Mike Challis \ 7. Composing with Graphical Technologies:Representations, Manipulations and Affordances Kevin Jennings \ 8. NetworkedImprovisational Musical Environments: Learning through On-line CollaborativeMusic Making Andrew R. Brown and Steven Dillon \ 9. Music e-LearningEnvironments: Young People, Composing and the Internet Frederick A. Seddon \ 10.Current and Future Practices: Embedding Collaborative Music Technologies in SecondarySchools Teresa Dillon \ Part III: Strategies for Change \ 11. Strategies forSupporting Music Learning through On-line Collaborative Technologies S. AlexRuthmann \ 12. Pedagogical Strategies for Change Jonathan Savage \ 13. NewForms of Composition, and How to Enable Them Ambrose Field \ 14. MusicEducation and Training: ICT, Innovation and Curriculum Reform Richard Hodges \ 15.Strategies for Enabling Curriculum Reform: Lessons from Australia, Singaporeand Hong Kong Samuel Leong \ 16. Creativity and Technology: Critical Agents ofChange in the Work and Lives of Music Teachers Pamela Burnard \ Contributors \Glossary \ Index

John Finney is Senior Lecturer in Music Education at the Faculty of Education, University of Cambridge, UK. Pamela Burnard is Professor of Arts, Creativites and Education at the University of Cambridge, UK. Recent publications include Musical Creativities in Practice (2012), Teaching Music Creatively (with Regina Murphy, 2013) and Developing Creativities in Higher Music Education (2013). Sue Brindley is Senior Lecturer in Education at the University of Cambridge, UK. Anthony Adams was formally lecturer in English and Education at the School of Education in the University of Cambridge.

'A welcome addition to the literature on digital technology and music education. For those studying to be teachers, or researching music education at university, it will serve as an important reference work. I would also like to hope that it could influence classroom practice.' Bill Crow in Music Education Research

• Series Foreword \ Acknowledgements \ Introduction\ Part I: Changing Identities \ 1. Music Education as Identity Project in aWorld of Electronic Desires John Finney \ 2. Perspectives from a New GenerationSecondary School Music Teacher Hannah Quinn \ 3. The Gender Factor: TeachingComposition in Music Technology Lessons to Boys and Girls in Year 9 Louise Cooper\ 4. Finding Flow through Music Technology Serena Croft \ 5. The Mobile Phoneand Class Music: A Teacher's Perspective Alex Baxter \ Part II: ResearchingDigital Classrooms \ 6. The DJ Factor: Teaching Performance and Compositionfrom Back to Front Mike Challis \ 7. Composing with Graphical Technologies:Representations, Manipulations and Affordances Kevin Jennings \ 8. NetworkedImprovisational Musical Environments: Learning through On-line CollaborativeMusic Making Andrew R. Brown and Steven Dillon \ 9. Music e-LearningEnvironments: Young People, Composing and the Internet Frederick A. Seddon \ 10.Current and Future Practices: Embedding Collaborative Music Technologies in SecondarySchools Teresa Dillon \ Part III: Strategies for Change \ 11. Strategies forSupporting Music Learning through On-line Collaborative Technologies S. AlexRuthmann \ 12. Pedagogical Strategies for Change Jonathan Savage \ 13. NewForms of Composition, and How to Enable Them Ambrose Field \ 14. MusicEducation and Training: ICT, Innovation and Curriculum Reform Richard Hodges \ 15.Strategies for Enabling Curriculum Reform: Lessons from Australia, Singaporeand Hong Kong Samuel Leong \ 16. Creativity and Technology: Critical Agents ofChange in the Work and Lives of Music Teachers Pamela Burnard \ Contributors \Glossary \ Index