Module 7: Reflection

Assessment is a reciprocal process between student and teacher. The teacher gains insight into the effectiveness of the learning process in which the student has engaged while offering necessary feedback for student success. Additionally, Bauer (2014) impressed the importance of feedback frequency; one instance of feedback cannot be expected to be enough to get students to their destination. Even if it works for one or two students, many students are still not being reached. Assessment typically comes in two forms: formative or summative. In regards to frequent feedback, formative assessment should be used most often. One colleague once told me that formative assessment is the watering and feeding of a plant, which should be done so often to assure the plant will grow. Summative assessment is the measuring of the plant to see if it is meeting expectations, which then can inform the watering and feeding process (maybe there are not enough feedings). I have never heard a better analogy.

Like many aspects of education, technology can assist teachers with the assessment process. One primary mode of assistance occurs in organization; for example, cloud-based storage and applications, like the Google G Suite, allow educators to create, organize and store grading documents (including rubrics, spreadsheets, and charts) that can be accessed on any device compatible with the service. Additionally, these services also allow easy sharing and collaboration between educators. A middle school band director may be collaborating with their high school band director on a performance rubric for lessons or concerts that are stored on a district Google Drive. Those who use Google may also be happy with the Google Forms app, which has now been updated to be used by educators for the development and scoring of quizzes; however, an educator may also use the same service as an informal survey to see how well students are grasping a specific concept. This could be useful in assessing understandings from music theory or aural skills.

While the organization and creation of assessment material are truly helpful, especially when the educator may be juggling a number of responsibilities, some technology does part of the organization, creation, and even feedback for you. Web-based platforms like Sight-Reading Factory, PracticeFirst and SmartMusic allow educators to organize pre-built performance assessments (SmartMusic still allows one to create their own) for which students perform (singing or with instruments) an assignment that the program records. Recordings can be previewed and then submitted to music teachers for further review. SmartMusic and PracticeFirst will actually provide immediate feedback in terms of red or green notes on the display, usually accompanied by a percentage. This may provide more motivation for students to do additional takes, attempting to put their best work forward. Furthermore, many of these programs allow educators to make their own settings and grading rubrics to be used in the course of student assessment. Because these programs are web-based they are easily accessible with any device that can access the internet.

Earlier, there was a brief discussion on technology helping with organization, specifically making connections to cloud-based storage. It can also be argued that this same connection assists educators in simply being more productive in their profession. In addition to cloud-based storage, there are other technology platforms that assist educators in keeping assignments and grade organized in one location, which can often be easily shared with administrators and parents alike. Infinite Campus, Schoology, Skyward, Blackboard, and Canvas are great examples of such platforms. Additionally, apps like Google Keep allow teachers a digital space to keep important notes and to-do lists in order to bolster productivity from day to day. Because the technology varies so widely, educators must choose what works best for them given task or goal to be met, whether it be in terms of instruction or productivity.

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.

Module 6: Reflection

Technology can and be extraordinarily useful in helping to differentiate instruction for all types of learners. People, but more specifically children, learn in a variety of ways and technology can assist. Whether a student watches a YouTube video of a professional clarinetist for embouchure or uses their phone to practice their individual part against a performing ensemble, technology can engage students in a way that motivate their learning. 

One of the first things educators must consider when designing instruction is the type of learners they have in their classroom. Bauer (2014) discussed the need for content to be represented in multiple ways as well as students having many different ways of engaging with the material and expressing what they have learned. Along with knowing one's students, this multiplicity of learning provides students with multiple avenues towards success. Technology is helpful in each one of these facets. While a choral student may have the notation for a concert piece right in front of them, the teacher may share a Spotify playlist with multiple renditions of the same piece (representation). Rather than doing sight-singing examples in school, a student could use a program like Sight-reading Factory that can be utilized online (engagement). 

Instead of keeping a physical practice look, a blog or Google Doc could be utilized to help students keep track of their progress toward goals (expression). To be used effectively, however, educators must also have clear student-learning objectives defined; this is another thing that should be considered in the design process.

With clear learning objectives determined, educators can design learning plans in which these outcomes align with appropriate assessments as well as the activities needed for students to succeed in providing the necessary evidence of their learning. Through this backward-design process, however, there is an important consideration to take into account. Bauer (2014) referenced that learning is contextual, active, social, and reflective. As an example, a choral student may normally learn in a group setting where everyone practices and performs together (contextual). Much of the class is spent practicing good vocal technique while rehearsing music for performance (active) in which every participant is a stakeholder. This means they work together to create the best product possible (social) and constantly discuss goals and needs for improvement (reflection). In all of these facets, technology can be used for assistance. Recording practice tracks where other parts can be heard can be uploaded to SoundCloud for students to access and practice with outside of the classroom (context). 

Students could submit videos of themselves singing small sections of their music on Google Classroom to show their progress (active). The teacher could open an online forum where students can freely discuss how in-class rehearsals are going, goal-setting, advertising for school performances, etc. (social and reflective). 

Another possible strategy to maximize student learning is the use of Project-Based Learning (PBL). PBL is a great way to help a variety of learners gain meaning in their learning. Within PBL, students are asked to work collaboratively on solving a problem or completing a task in an authentic, real-world manner. Planned accordingly, such activities cover all aspects described above. For example, advertising a choral concert has real-world applications, is contextual (what is being advertised and how), active (planning and implementation), social (connecting with the community) and reflective (how did thing work and what should be done better for the next concert?). The technology required is only limited by the imagination. Students could be introduced to Canva to create a design, or perhaps students would use Garageband to create a short podcast to be played over the school PA system or local radio station. Technology seems to make everything more accessible, even communication.

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.

Module 5 Reflection

Plenty of literature has pointed to listening as the most important musical skill, informing our other experiences of creating and performing (Bauer, 2014). While music permeates our everyday lives, there is a distinct difference between hearing music in the background and listening to it, implying that some kind of information is gained from the activity. This information had a direct impact to how one responds to their music of choice. Naturally, it may be presumed that music listening should be taught because of its status as a skill; however, Bauer (2014) discussed how intuitive listening (in which the listener is control of the experience) is different from formalized listening (where a teacher is in control). While the educator should certainly structure certain learning opportunities from a listening experience, a balance should be struck where students still find the process enjoyable.

One key instructional strategy to building musical understanding is to help our students create mental representations of what they hear in music to which they are listening. This can be difficult as music is occurring over time, quickly evolving in the moment (Bauer, 2014). To overcome this obstacle, it is suggested that educators allow for repeated listening, expand the kinds of music being listened to, and represent what they listen to verbally (vocabulary), visually (like a call chart or listening map), and movement. As described above, allowing the students some autonomy in the listening process can also be helpful. They can contribute to the variety that music educators seek in music types and will likely be more engaged in sharing and discussing what they hear during the experience.

One of the strongest impacts technology has had on music listening is the fact that music is now far more accessible to the average consumer (Bauer, 2014). The internet has made it particularly easy; services like Apple Music, Amazon, and Spotify make it very easy for people to listen to music, create playlists and share music with others. YouTube is also a popular choice for many to find music, compile playlists, and share their findings with others, though this normally involves a video component as well. Such tools are very beneficial for teachers to access high-quality music quickly while also allowing students an efficient way to share their own music and truly get involved in the educational process. This kind of accessibility is also useful in providing multiple listens of music being discussed. YouTube and other video-sharing sites have an additional benefit of allowing students to see music being performed in other parts of the world. Bauer (2014) discusses the importance of studying world music in their proper context; seeing the music in action is made easy with the internet. There are also videos created that show music in different ways, like a bar graph representation.

While the ideas above can be useful in helping students develop visual and mobile representations of what they hear, verbal/written representation can be encouraged through the use of any digital platform that allows easy documentation as well as the ability to share and comment. There are a number of online forums that can be utilized by educators. Bauer (2014) also made compelling arguments for blogs or wikis, which can be easily shared and commented upon. Students can use these spaces as an online journal of ideas that can be shared with their peers. Another viable option is the use of Google Apps; a Google Doc template can be utilized in a similar function as a blog or forum.

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.

Module 4: Reflection

Performance is an important component and standard of music education programs across the United States. For many, it is the most traditionally visible component that informs the general public and teaches students a variety of knowledge and skills that use psychomotor, cognitive, and affective components (Bauer, 2014 p.79). Many music educators are tasked with tackling the feat of teaching these ideas. Technology can help aid in this process and help students to develop clearer and more proficient understandings and practicums of performance.

A common concern stated at many music educator conferences, discussions, and social media groups is encouraging, motivating, and trackings student practice. There are a variety of tools that can help students to practice. Bauer (2014) discusses that even the most simple technologies such as metronomes or tuners can significantly enhance student practice. However, educators can enhance these practice sessions further. Programs such as SmartMusic can give students the opportunity to practice performance with an ensemble and/or accompaniments. SmartMusic allows students to practice in a harmonic context and can help with developing their harmonic intonation. Even though programs like these can help provide students with a different scenario in which to practice, it may or may not contribute to their intrinsic motivation.

There are many aspects of teaching ensemble and performance skills and knowledge that can be aided by technology in a rehearsal setting. Video and audio recordings of rehearsals can be extraordinarily informative to the student learning. Video recording rehearsal can provide students to see different aspects of performance such as posture and expression. Students can review these videos as individuals or a group via platforms such as Google Classroom to critic and revise performance. Personally, the GoPro is a great and simple high-quality camera that allows for capturing the details of students performance. However, any smartphone has a camera capable of recording in enough detail to inform student critic and performance improvement choices. However, it can be important to remember that without a proper set-up, audio and video devices can be deceiving in what they capture from a sound standpoint. There are three different types of microphones in video and audio recording devices; mono, stereo, and multi-channel. With mono microphones give the least clear audio picture and multi-channel microphones give the most detailed.

Technology can be a great way to teach and reinforce new performance skills and knowledge. There are a variety of options for students to examine modeling, practicing, solo and ensemble performances. It can increase student motivation to practice and perform as well as give them useful perspectives. As with all technology, it can have its barriers such as cost and access. However, in a world where technology is becoming more present and accessible, we as music educators have to be willing to overcome those barriers, even if it means thinking outside the proverbial box.

References:

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.

Module 3 Reflection

It is almost inconceivable to currently think about music and not reference some sort of digital sound. Bauer (2014) describes two primary technologies that have changed the musical world, MIDI and digital audio (p.26). Each has had different but profound impacts on the way music is conceptualized, created, and documented. These technologies can be used in the classroom to help students to perform, respond, and create music. Often times, they can enhance students experiences and provide an alternative avenue for students’ musical learning.

MIDI, musical instrument digital interface, consists of data that is recognized by MIDI instruments that translate the binary information to sound (Bauer, 2014 p. 29). One of the most prevalent contributions to the music world that MIDI has provided is the ability to instantly hear and playback notated music. This has had major implications for the music classroom. Because many students are beginners, it is common that they struggle with reading and auditing their musical thoughts. This can hinder their ability to create and document their ideas. MIDI has allowed for the instant feedback and actualization of musical ideas and creations. However, there are constraints to MIDI’s educational implications. Much of the notation and sequencing software that utilizes MIDI can be time-consuming or costly. This means that teachers need to be adequately prepared to use and demonstrate on the programs. Educators may also run into challenges with being able to purchase the necessary subscriptions or software.  

Where MIDI uses binary information to tell MIDI-capable instruments what to play, digital audio is a direct representation of sound waves (Bauer, 2014 p. 30). Digital audio has had a profound impact on the music world. It has allowed humanity to record and share its’ many musical offerings. There are several programs that can be used in the classroom. Audacity is one such open source program that allows users to record and edit digital audio. Paid software such as Logic Pro or ProTools allows for more in-depth editing; these may be very appropriate for advanced students in nontraditional music programs. All of these programs allow users to edit sound in a nonlinear manner. In the classroom, students can use these programs to record themselves and share their ideas or performances with one another. These could be especially helpful for students who do not read traditional musical notation and therefore do not compose traditionally. There are some confines to using this software in the classroom. Firstly, educators must be equipped with a basic knowledge of digital audio. Since this is not a topic touched in many undergraduate programs, this may prove to be challenging. Digital audio editing programs and be costly and require extra equipment such as microphones, interfaces, and mixers.  

Although MIDI and digital audio technologies can be costly, they can have a positive impact in the classroom. To start, there are several programs that will allow educators to become familiar with digital notation/audio and still provide students a quality education and introduction to working with digital sound.

References

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.

Module 2: Reflection

In most cases, improvisation and composition become topics of discussion when music educators approach the idea of creating music. As is the case with most complex tasks, specific knowledge and skills are useful in this endeavor. In his discussion on facilitating musical creativity, Bauer (2014) began with the influence of the external environment. A student is less likely to succeed in creative output if they do not have the opportunities and necessary resources to engage in the activity; additional stress was placed on intrinsic motivation and time. Knowledge and skills fall into the realm of resources; in the case of music creation, this would include developed aural skills (audiation), the ability to imitate genres/styles, the analysis of musical structure, and engaging with others (Bauer, 2014).

A closer look at improvisation alone will argue this case further. As a student improvises new material, and are trying to communicate musical thoughts by ear; again, aural skills become essential to the process. Kratus (1996) posited that improvisation occurs on seven different levels of complexity, and audiation is already referenced in the first level. This could be accomplished simply by teaching students to echo rhythmic/tonal patterns or exploring the idea of call-and-response. Additionally, as one moves upward level by level, it can be seen that the musician devotes more attention to structure and style while mastering the necessary motor skills to communicate ideas. As in his previous discussion, Bauer (2014) also communicated the importance of engaging with other performers when improvising in order to gain the ability to react and adapt to what their peers are doing, especially when they are providing the accompanying material.

Currently, there is a myriad of technologies available to those who desire to create music. Standard-notation platforms like MuseScore or Noteflight are free to use and allow similar experiences provided by higher-tier programs like Finale or Sibelius. Notated projects can be played back for the creator at any time and even be shared with peers. For the improviser, such a program would be invaluable for the transcription of solos and/or other vocabulary. However, these programs do take time to learn, and students who struggle with using standard-notation will not benefit as much from these kinds of programs. Such students may do better in programs that utilize looping/sampling capabilities, like GarageBand. For improvisation, students can benefit from a program like SmartMusic in which one can play along with recordings/chord-changes while recording themselves in the process. Simply the ability to record oneself performing (and is valuable technology as it aids in the self-diagnosis of issues within one’s performance along with current strengths.

References:

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.

Kratus, J. (1996). A developmental approach to teaching music improvisation. International Journal of Music Education, 26(1), 27-38. DOI: 10.1177/025576149502600103

Noteflight

This week we are exploring different ways of creating music with technology. Above, one will notice a music document created using the web application, Noteflight. There are a number of benefits to using this platform in education. Firstly, it can be accessed free of charge; you simply need an email address; premium services can be purchased at an affordable rate. Secondly, scores can be edited, saved, and shared online; sharing can take place within the platform itself or as a link or embedded code as it is here. Thirdly, the program is easy to use; younger students will be less likely to become frustrated with the program merely off of interface. However, there are limits to the program as well. It is a notation software, which means that students require a level of prior knowledge in the use of standard-notation. Without this knowledge, the user-friendly interface becomes irrelevant. Other limits result from the subscription itself. As an example, a free subscription only allows access to so many sounds and the creation of ten scores, which may be enough for some educators, but not for others. Noteflight Learn may be a far better subscription for a classroom, provided it works in the budget and that there is access to an adequate number of computers. As long as an educator has a clear idea of how Noteflight can assist their content and pedagogy (TPACK), it can be a highly valuable composition tool.