E-Portfolios in Music and other Performing Arts Education: History through a Critique of Literature

Abstract

The introduction and use of various forms of technology have been noted by historians of music education as significant influences on the ways in which music education has developed. For example, George N. Heller notes that "education in general and music in particular have felt the impact of sound recording, film, television, videotape, computers, laser disk technology and a host of other innovations," while published materials and conferences on music education regularly include research into the applications and implications of types of electronic technology, as Peter R. Webster indicates. 1 This reflects the technologizing of both education in general and of music production and dissemination specifically. 2 In contrast to general computer-based technology, specific types of computer-based technology have strong relevance to the learning and teaching of music and other performing arts, owing to their ability to store and present sound and filmed events, to represent the multiple identities of performance educators (as creators, designers, performers, producers, researchers, teachers, technologists) through multimedia, and to provide sites of music creation, manipulation, and dissemination. As Renee Crawford puts it, "the importance of technology in music has meant its

A systematic literature review of cognitive exchange in higher degree visual art education

“…The Phase 2 visual art education papers suggested cognitive exchange has pedagogic relevance in art education learning design (Davis, 2004). Through means like e-portfolios use (Dunbar-Hall et al, 2015), adoption of transformative processes (Lawton and La Porte, 2013) and consideration of materialist philosophy (Garber, 2019). Associations between cognitive exchange and pedagogy were drawn in relation to visual culture (Mamur, 2015), contemporary art concerns, voice advocacy (Tan and Gibson, 2017) and motivation (Nortey et al, 2013).…”

“…Acknowledgements of cognitive exchange need to occur in contrast to the constraints of pre-determined educational outcomes (Rousell and Fell, 2018) so learning possibilities become limitless. Some scholars, concerned with digital art pedagogy, recognized praxis informed and play orientated experiences facilitated cognitive exchange (Tomljenovic, 2015; Dunbar-Hall et al, 2015). But advised caution concerning the undermining of traditional art practices by the digital (Simmons, 2019).…”

Electronic Portfolio Management System (EPMS) in Saudi Technical and Vocational Training Corporation (TVTC) Sector: A Conceptual Framework

“…It is thus important to keep into consideration that e-portfolios are frequently utilized to assess, which overshadows the reflection process. Both uses (assessment and reflection) should be leveraged to enhance the work of students and teachers and this covers choosing evidence/samples, providing a period of time for the student to respond to a certain goal, enabling the student to illustrate his learning, while the learning process is tracked by the teacher [40,48,49]. Speaking of student aids provided by the teacher during portfolio development, there are two types that have been identified, which depend on the kind of the information supplied.…”

The evolved landscape of ePortfolios: Current values and purposes of academic teachers and curriculum designers

“…Dunbar-Hall, Rowley, Brooks, Cotton and Lill (2015) identify the introduction of ePortfolios to higher education as occurring in the 1990s as a replacement for paper-based portfolios. By 2005 the European Portfolio Initiatives Coordination Committee (EPICC) was describing an ePortfolio as a collection of student work stored in a digital format… (Jokinen, 2006, p.3).…”