Resonant Researcher

Introduction

Chapter 5 of Rethinking Education in the Age of Technology by Allan Collins and Richard Halverson presents a critical look at how technology is reshaping not only education in general but also the expectations of students and the role of teachers. Their arguments resonate deeply within the field of music education, where digital tools and online platforms have radically transformed how students engage with music.

As educators, we must grapple with the shifting landscape of education and music-making. This chapter highlights both the challenges and opportunities that come with the digital revolution in learning.

Technology as Disruptive Change

Collins and Halverson emphasize that technology doesn’t just enhance existing educational practices — it often disrupts them. Traditional schooling is based on hierarchical, teacher-centered models, while technology promotes decentralized, learner-driven exploration.

This is profoundly evident in music education. Students today learn music on YouTube, produce songs in their bedrooms with free software, and collaborate globally through online platforms. The democratization of music-making means students often come to school with musical skills and knowledge gained outside formal instruction.

This challenges the traditional role of the music teacher as the sole gatekeeper of musical knowledge. Instead, we must embrace the role of guide, mentor, and facilitator — helping students navigate their musical interests, develop critical skills, and reflect on their learning.

The Rise of Personalized and Informal Learning

Another key point in this chapter is the shift toward personalized, informal learning. Technology allows students to pursue their own interests at their own pace — whether through tutorials, online communities, or creative projects.

In music education, this could mean:

• Allowing students to choose repertoire that reflects their musical tastes.
• Encouraging project-based learning like songwriting, beat-making, or video creation.
• Supporting students as they learn new instruments or production skills independently.
• Connecting classroom learning with online music communities or resources.

Instead of resisting these changes, we should design classroom experiences that blend formal instruction with informal, self-directed learning.

Challenges for Schools and Music Educators

While the possibilities are exciting, Collins and Halverson also address significant challenges:

• Access and equity — Not all students have access to technology or the internet.
• Assessment — Traditional grading doesn’t always capture the skills developed through informal learning.
• Teacher preparation — Educators need support and training to integrate technology meaningfully.

Music educators must advocate for equitable access to technology while also developing flexible assessment methods that honor creativity, collaboration, and process over product.

Conclusion

Ultimately, Chapter 5 of Collins and Halverson’s book reinforces the idea that education — and music education — is at a crossroads. Technology is not going away. Instead of resisting change, we should embrace the tools and platforms that allow students to engage with music in powerful, personalized ways.

Music education in the 21st century (as we are 25 years into this century) should honor tradition while embracing innovation. We must prepare students not only to perform existing works but to create, collaborate, and express themselves using the digital tools that shape their world.

The future of music education is already here — and it is participatory, personalized, and profoundly digital.