Digital Audio Workstations? Yes, please!

                 This week I was excited to read about digital audio, mostly because I am a complete novice when it comes to this topic.  At the school where I teach, there is one teacher in our department who knows, understands, and loves all things technological (especially when it is music related), so I will admit that I heavily rely on him without fully engaging in learning about how to use digital equipment.  It’s not that I am not interested, it’s just a matter of having the time to devote to it.  Fortunately, this class is allowing me the time to explore these avenues and I’m already introducing the other teacher in my department to a few things!

                While reading chapters two and three, there were a few things I found really helpful.  First, the explanation about audio file types and compression helped me discern the difference between file types and why some of them take up so much space on my computer!  As an owner of both an Apple and PC laptop, it was also helpful to read about which are most common for each operating system and which are compatible (or not).  Though I am still trying to learn what each of their unique functions are (WAV, MP3, MP4, AAC, WMA), at least I am becoming more familiar with the language and which is appropriate for different scenarios. 

                I am also really intrigued by Digital Audio Workstations.  I do have some experience with Garageband and found it extremely user friendly for people of all ages and experience.  I am excited to explore other software and compare my experience to this apple software.  Either way, I find DAW’s extremely useful in allowing students to compose.  As mentioned in chapter three, “tools such as these allow students who don’t read music notation to be actively engaged in thinking in sound….the result is often a work that is more sophisticated and of higher quality than would be possible if everything had to be notated” (Bauer, 2014, p. 65).  This is an exciting premise, for I have seen students WANT to be creative and not have the musical knowledge or experience to get their ideas out of their own heads.  The ability to record, use loops, use midi and manipulate and edit their own compositions without requiring the knowledge of musical notation opens up the musical experience to a MUCH wider student base.  I could see Digital Audio Workstations being a foundational element of music technology curriculum on its own!  In addition, this not only allows students to be creative on their own, but also allows for students to be collaborative and evaluative, both of which are extremely important to the new Common Core expectations.  As I continue to learn more about this topic, I would love to find ways to facilitate projects using Digital Audio Workstations in my own classroom.  With a little support, this is something that could tremendously enhance our program in the district where I teach.  Time to ask for an upgrade!

Noteflight Composition

     I had a lot of fun playing with Noteflight today! I found it to be pretty user friendly, in general.  Any question I had were easily answered by the user guide and tutorials.  I love the fact that it is completely web-based, so I have the ability to save, embed, and share the compositions.  I also have access to other friends who are sharing their scores.  I think this would be a great tool in the classroom to have students complete compositions and turn them in online.  It would also be great to have classes work on a composition together and collaborate via the website through the view/edit features.  I will admit, this is totally new territory for me because I have never used internet-based composition software before.  However, because it is accessible from any computer with an internet connection, I don't have to have a fancy music lab at my school to make use of this software.  Very cool!  The only glitch I seemed to have was that it would not let me transcribe any vocal parts without upgrading to the premium version.  I don't mind paying the $7.95 for myself, but I'm not sure how that would work itself out with my students. The teacher packages were a little pricey, but if I can make a good case for it, my supervisor might be willing to purchase this for use as part of the curriculum.  Here is the link to the score I transcribed using the website: A Bicycle Built for Two.  You can also take a listen below.  Enjoy!

Creativity in the Music Classroom: An Inquiry

Chapter three caused me to reflect on the concept of creativity in the classroom.  This is an area that I struggle with in my lesson planning and pedagogy for a variety of reasons.  Scripted curriculums, large class sizes, standardization, differentiating instruction, and inclusion, are a few of the challenges that I (and any teacher) grapple with in trying to encourage students to move beyond mere memorization of facts to developing musical creativity.  I would like to share several quotes in particular that stood out to me. My thoughts are looked at through the lense of my high school general music classes and  often present more questions rather than definitive answers.  However, it is a starting point for my growth and development in this area.

“Creative thinking is a dynamic process of alternation between convergent and divergent thinking, moving in stages over time, enabled by certain skills (both innate and learned), and by certain conditions, all resulting in a final product” (Bauer, 2014, p. 49).

1) What does it mean for creative thinking to be dynamic?  To me, this means that students are able to interact with curriculum in such a way that the material is not only engrained, but their minds are engaged.  It’s not merely about memorizing signs and symbols.  It leads to further inquiry, persistence, and excitement to move forward.  This, of course, makes the assumption that all students are interested in the material to begin with (I guess that is the realist side of me-not all of my general music students are in my class by choice!) and want to fully engage in the creative process.  

2) Also, how do you facilitate interplay between convergent and divergent thinking?  Convergent thinking requires a basic understanding of musical knowledge coupled with students’ creative ideas.  Teachers have control of the material presented and have a role in convergent thinking.  But, can you teach divergent thinking?  How do you encourage students to take the material “out of the box,” and create on their own?  These kinds of high level critical thinking skills are a challenge for many students and, though I can do my best to scaffold their learning, the end result will look different based on students’ individual capacities.

3) How much time do you devote to the creative process?  According to Bauer, “Creative work is not linear; there are often false starts and dead ends.  Trial and error is commonplace” (p. 50).  Also, “Creativity is almost always a process that takes time, preparation, and persistence” (p. 50).  In a classroom with so many time constraints and demands, how do you allow for creativity to move in stages over time and not completely take over your curriculum?  In my general music classes, most students are not coming in with prior knowledge or musical skill.  There is a certain amount of material I have to get through in order for them to leave with appropriate foundational knowledge.  How do you weave in the creative process while trying to teach foundational musical skills?  If I were to assign a composition project, when do they know enough information for it to be introduced and how long should we devote to it?  Is it something that can evolve over time as they learn more skills?  I do not have access to computers and music software in my classes, so how much music notation do I hold them accountable for?  When the objective is that students will create their own musical compositions, does the final product have to include the same expectations for all?  How do I differentiate based on student ability and still feel they have all sufficiently completed the requirement?  I have always looked at creating (along with notating) music as a high-level endeavor that some students simply will not be able to complete.  Perhaps I need to broaden my definition of “creating music” and expectations to successfully implement this in class?  I do currently assign a composition based project in my class, but these are the questions I struggle with each semester.  I don’t feel I have quite mastered the sequencing for this type of endeavor and would love to gain resources from teachers who have implemented composition in their classrooms!

“Creativity within musical genus is facilitated by a) listening to music and developing aural skills, including the ability to audiate; (b) imitating musicians and musical styles and genres; (c) analyzing how music is structured; and (d) engaging musically with others more experienced than oneself” (p. 51).

Ideally, I completely agree with this statement.  However, this adds a whole different dynamic to the curriculum.  Along with developing foundational musical knowledge (signs, symbols, vocabulary, note reading), students must also be exposed to composers and musicians of various musical styles and genres.  To take it a step further, they must be able to analyze the structure of music and develop aural skills which will assist them in creating their own musical compositions.  Phew.  How do you get this all done within a 20 week ( one semester) general music class?  I’d love to go to some professional development on this.

“The key to the creative process is intrinsic motivation” (p.50).
This statement might be the cornerstone of this conversation.  Students have to want to create.  There has to be some sort of intrinsic element in order for creativity to be possible.  So, my next question becomes, how to do I awaken intrinsic motivation in my classroom?  How do I encourage my students to WANT to compose? To convince them at some level that we are creative beings by nature and awaken that inside of them? I don’t think it is possible to reach every single student.  But, hopefully, I can start with one student in one class and grow from there.    

A New Adventure Begins

“The effective integration of technology requires teachers to thoughtfully consider how content, pedagogy, and technology work together in a specific teaching and learning context” (Bauer, 2014, p.15).  There is no doubt that technology plays a major role in the lives of my students today.  New technologies seem to be emerging faster than ever, and my students are growing up in the midst of this technological era.  It seems impossible to keep up at times!  I really appreciated Bauer’s approach to the topic of technology in education.  Throughout the introduction and first chapters, he consistently both acknowledges the importance of technology in the music classroom and the responsibility of the teacher to decide how to integrate it in a meaningful way.  I love that he emphasized that each teaching context looks different.  I don’t want my focus to be on what I don’t have available to my students, but in improving the use of what I do have.  This way, my focus is both on my growth as a teacher and my students’ growth as musicians in my current teaching situation.

As I reflect on my own incorporation and development of Technological, Pedagogical, and Content Knowledge (TPACK), I must first reflect on the how I currently use technology in my own classroom.  At East Hartford High School, where I teach, I am one of four full-time music teachers.  We share a common office space and move between three different classrooms throughout the day.  I work in an urban district where our budget is tight and resources are limited.  The chorus and band room are simply equipped with a desktop computer and speakers.  Other than that, we have a white board and old fashioned chalk boards.  Needless to say, the ability to incorporate technology in these rooms is almost non-existent.  I often play recordings for critical listening exercises, but, other than that, I am limited to using the computer for inputting grades, taking attendance, email, and internet.  Our general music classroom, set up as a piano lab, is slightly better.  We have 25 Casio keyboards for students to learn basic piano skills.  I have a desktop computer with speakers, hooked up to a Smartboard.  Hallelujah! A Smartboard!  This technology changes the entire dynamic of the classroom.  For my piano classes, I am able to create all of our lesson notes beforehand, improving efficiency in presentation of the material.  These lessons are interactive, generating class participation and discussion.  I am able to show videos that reinforce concepts, introduce composers, and expose students to different aspects of performance.  The Smartboard truly is a wonderful tool that I wish I had access to in all of my classrooms.

Though I have limited technology resources available (I often dream of the beautiful music lab equipped with individual student stations and composing and recording software!), I still believe there are ways to improve the use of what I do have.  What else can I incorporate with access to the internet? Social networking? Class websites? Smartboard technology? Google+?  Music Software?  I feel, at this point in my career, I am at a place where I want to explore this third piece of TPACK, the integration of technology into my pedagogical knowledge.  The curriculum I have built over the years is established and I am looking for ways to build on this foundation through the use of technology.  With the right research and training, the options are really endless.  Here’s to a new adventure!