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.

Module 1: A Conceptual Framework For Technology Assisted Learning

Technology continues to grow as an integral part of the fabric of our society. Bauer (2014) discussed the idea of technology “flattening” the world (p. 4), essentially shrinking our world by allowing us to overcome barriers, like geographical location, that affect our interactions with others. This kind of communication is evident in the younger generation born into such technology, most of which I have a smartphone and nearly all participate in some kind of social networking online (Bauer, 2014). In addition to social networking, the internet has also revolutionized the entertainment industry as well as consumerism; music is part of this revolution. Programs like Spotify allow accessibility to music with unparalleled ease along with websites like YouTube where playlists can be compiled and shared with a click of a button. In addition to accessing music, software exists to help people of all walks of life to create music of their own. Notations platforms like Noteflight or sampling platforms like Incredibox are free to use and allow the user to dive right into the material.

With technology permeating all of civilization, it becomes necessary to consider its use in education. The idea of technology assisting in education is not a new one as there are always new and improved tools being created. Going from computer labs to one-to-one programs is one such example as laptops are being made to be more durable and affordable. Decisions of technology giants like Google also support this trend. Google started as a mere search engine but now has their G Suite that includes Google Classroom. Furthermore, they now provide Google Certification training for teachers who want the most out of the Google apps. For music classrooms specifically, the explanation of different possibilities above applies. Technology’s main role in all of this is to assist us in acquiring the information we seek while affording us the tools to work with that information. Such tools, however, should be discussed with the students so that they may know the appropriate circumstances in which to use them.

In order to assist with this, Bauer (2014) introduces the Technological Pedagogical and Content Knowledge (TPACK) model. Good teachers understand what (content) they are teaching and how (pedagogy) to teach it. The model in question also points out that these two areas of understanding can overlap (PCK - pedagogical content knowledge), resulting in some of the most powerful teaching and, consequently, learning. TPACK incorporates the understanding of technology to be integrated. If overlapped with content, the result is an understanding of how technology is currently used within a specified content area. If overlapped with pedagogy, the result is understanding what the technology will allow students to do (or limit from doing) in order to select a technological approach that will guarantee the best learning. TPACK, therefore, is the intersection of all these understandings (content, pedagogy, and technology) in order to develop learning opportunities that are powerful to students while incorporating the correct technology to assist the process. The model is truly adaptive in that it includes the premise of context; two different classrooms with different teachers, student body, and resources will likely display TPACK in various ways.

Reproduced by permission of the publisher, © 2012 by tpack.org

References:

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

TPACK ORG. (2012). [Diagram of the TPACK model May 11, 2011]. Using the TPACK image. Retrieved from http://tpack.org/