Advantages and Disadvantages of Music Tech

For decades, technology has shaped the way we live.  The twentieth century introduced us to several to revolutionary technology advances that have made our lives easier (the automobile, dishwasher), more efficient (typewriter, telephone), and more entertaining (the radio, television).  Then along came the internet, perhaps the most important invention in modern history.  Today there are pieces of technology that we just can't live without (anything that Apple makes, nowadays), such as Apple's iPod, iPhone, and iPads, which have become hugely popular amongst several age groups.  This technology is constantly evolving (did you know the iPod originally didn't have a touch screen, and was only able to play music??).  As developers strive to improve their design and invent the next best application for such devices, one can easily get caught up in fascination, and almost "novelty" of technology.  In my last post, I discussed music technology used in the special education classroom.  The major benefits of having this sort of technology is that it provides opportunities for students with disabilities to create and perform music.  Technology like this is a gateway for special needs students to communicate through music.  In this essay, I will look at more advantages of using technology in music education, as well as some of the disadvantages as well.

Technology, particularly that of computers, is always changing.  Software updates occur almost daily, while major updates occur every few weeks or months.  This can be a good thing.  As features are constantly updated, software becomes more efficient at handling tasks and becomes more stable, more user friendly, and more visually appealing and organized.  However, constant changes also result in users having to keep up with these changes.  For instance, I based much of my curriculum project around GarageBand '09 (www.apple.com/ilife/garageband) which has several great features for composing and performing music.  There are a few great lessons to get users started with piano and guitar as well.  Today, while writing this essay, I decided to upgrade to the new version of GarageBand '11 only to discover that there are several great features that I could have incorporated into my project.  Instead of around twenty basic lessons, there are now forty, as well as the new "How Did I Play?" feature that allows users to get instant feedback in the lesson.  There's also a chord trainer, something that I would have to have found in a separate application.  Of course, this is a great advancement for future projects and students, so in the end it all works out as a benefit.

I have discovered at least fifty music iPhone (iPad) applications in Apple's app store.  The iPad has become a springboard for creative uses of the technology, and has thus become a huge benefit to education.  The touch based platform has been great for students who are just beginning or prefer a simple tactile approach to learning; the platform is also great for students with disabilities such as autism or emotional disorders who can use apps like Beatwave and Bloom.  However, the market has been absolutely flooded with these apps, resulting in some pretty low-quality work.  I won't name specifics in this essay, but an example of this is the several apps that allow you to play guitar.  Ads for free apps, often the only sort of revenue that developers can gain, always get in the way, thus hindering the learning environment.  But moreover, the response of the guitar strings, or the layout of the app results in frustration and demotivation.  So its important to do some research (and spend the cash) on some good applications.  Apps like the iPad version of GarageBand for instance, offer an extremely user friendly guitar interface, and thus benefits music students.

Perhaps the greatest use of technology has been the invention and application of the internet to our daily lives.  It can be a powerful tool for research, communication, downloading software and upgrades, and viewing multimedia.  The internet provides a gateway into the world, a gateway that was previously shut to much of the world and our students.  In music, we can now view prerecorded and LIVE performances of virtually every style, historical period, composer, and artist imaginable (I am currently viewing a live performance of a Sibelius Concerto for Violin performed by the Indianapolis Symphony Orchestra!)  We can research the history of these people and genres (NSME 9), examine relationships within the music and other arts and disciplines (NSME 8), and analyze and describe this music (NSME 6) as well evaluate the music we hear (NSME 7).  With the invention of internet based music applications, students can now notate and compose music with such programs as NoteFlight (www.noteflight.com/) (NSME 4, 5), and participate in their online community and share creations.  In the age of music program cuts, free theory programs like www.Teoria.com, www.8notes.com, and www.good-ear.com make learning written and aural theory, as well as history and other resources accessible to students and school districts who many not be able to afford it otherwise.  Teacher designed WebQuests are also a great way to emerse students in the world of specific topics; communication with students is very easy as well.

However numerous the benefits of the internet are to music students, there are drawbacks to the internet. The internet and other technology makes us lazy.  The only time we have to get up is to actually grab the laptop or move to the computer (and occasionally use the bathroom or grab a snack).  This also means that students are less likely to pick up a book, or visit the library.  And while major resources such as WikiPedia are becoming more well documented, students are losing the ability to do proper research.  There are also several distractions, particularly with socialmedia websites like Facebook and MySpace (this author has probably checked Facebook 4 or 5 times by now).  The internet is also filled with more inappropriate material than you can shake a Melody Wave baton at.  However, when used responsibly the internet is probably the greatest resource a teacher and student could have.

Software like Apple's GarageBand and Avid's Protools has allowed both beginners and professionals the ability to produce high-quality music in the comfort of their own homes.  Sequencing, audio recording, and as mentioned before, lessons from GarageBand allow users to experience and create the music they love while learning the fundamentals of music theory and performance.  Educators like Barbara Freedman use GarageBand as the core curriculum in their general music classes.  Freedman says that, "Technology allows us the opportunity to teach students with very little musical background by having them create music and compose music," She goes on to say that, "It allows us to take them through the process of understanding music and what goes into creating music--things that students would typically learn in a performance class--like harmony, melody, and rhythm. It's applied learning. They apply themselves to the practice by actually composing" (Demski, 2010).  


Classrooms like these allow music teachers to reach "the other 80%," those students in our schools who do not participate in the traditional performing ensembles and music classes (Williams, 2006).  These students are also referred as "non-traditional music students (NTMs).  Most students who do not participate in the traditional ensembles (band, choir, orchestra, jazz) create music at home using software such as GarageBand, or perform music in actual garage bands.  Using technology opens the door to real learning in music: taking music that students already love, and helping them to understand it and learn from it.  Such software allows students to pace their own learning, developing students as independent learners.  Of course, this process starts with the educator, who must shake their attitudes (often smug) of  classical related literature as the only means to learn music.  Imagine a world in which every student, not just the band or choir kids, were educated in music.  The seeds of diversity would certain plant an interesting garden!


One could argue that price is a disadvantage, and they would probably have a fairly decent one because of the current economy.  However, as computer software becomes more widely disseminated, the average price comes down.  A Macbook laptop today costs around $1000; I remember my computer ten years ago costing nearly three times as much, and not having even close to the processing power and software capabilities.  Sitting in front of a computer too long can cause adverse effects to your health, so its important to balance the use of technology with real, physical activities.  Also, if students get very involved with computers, their may become so preoccupied with it that their social or communication skills diminish.  Just remember that everything is good in moderation!  


Technology is much more accessible now than it ever has been, and it seems the future is bright for its use in the field of music education. It is impossible to examine every aspect of music technology in one essay, however it seems that the advantages of using technology far outweigh the disadvantages.  It is important to examine the benefits of each piece of technology for yourself.  The learning curve itself could be considered a disadvantage, so give yourself enough time to learn how to use it.  And however amazing technology might be, don't become dependent upon it.  Good technology should work in tandem with good teaching!   

Sources:

Advantages and Disadvantages of the Internet. (2006).  Retrieved from http://www.pondered.org/the_internet.html

Benefits of Technology. (2011). Retrieved from http://benefitof.net/benefits-of-technology/

Demski, Jennifer. (October 2010). "How Music Teachers Got Their Groove Back: Music Instruction Goes Digital." THE Journal. Retrieved from http://thejournal.com/Articles/2010/10/01/How-Music-Teachers-Got-Their-Groove-Back-Music-Instruction-Goes-Digital.aspx?sc_lang=en&Page=1

National Standards for Music Education. (2011). Retrieved from http://www.menc.org/resources/view/national-standards-for-music-education

Noteflight, Music Notation for a Connected World. (2011). Retrieved from http://www.noteflight.com/login

Williams, David Brian. (2006). "The Other 80 % Music Home." Retrieved from http://musiccreativity.org/

Special Education Music Technology

Growing up as a child, the term "special education" to me, meant "mentally retarded."  I did not understand the different disabilities that children could have, which largely go unnoticed by children's friends and peers.  The United States Department of Labor, Bureau of Labor Statistics' Occupational Outlook Handbook (2010-2011) states these various types of disabilities including, "specific learning disabilities, speech or language impairments, mental retardation, emotional disturbance, multiple disabilities, hearing impairments, orthopedic impairments, visual impairments, autism, combined deafness and blindness, traumatic brain injury, and other health impairments."  Anytime a student meets one or more of these qualities, an Individual Education Programs (IEP) is developed for that student.  The Occupational Outlook Handbook also states that an IEP "sets goals and is tailored to that student's individual needs and abilities."   When I entered my first year of teaching, I was handed a fairly large stack of IEPs.  I was not told how to use them in the music classroom; I referred to them occasionally when I had a "problem" student.  Looking back, I wish I had considered these IEPs more, and wish I had some help with using these plans to benefit my students.

As I (hopefully) reinter the work force and finish up my independent study with music technology, I hope to be better prepared for certain situations taking a look at a few things.  Up to this point, this blog has focused on the music ed tech that can be used as part of your everyday curricula.  Much of this technology can be adapted to fit the needs of many of our students; others with more severe disabilities will require alternative means of music education and new tools.  So, I'll be taking a look at some of the major technologies for students with disabilities, describe them, provide links and embedded video, and discuss the ways that they can be used in the classroom (inline with the National Standards for Music Education).  Also note that the technology discussed in this post can be used by anyone, not just students with disabilities.

One of the most innovative technologies that I have seen recently is Soundbeam (http://www.soundbeam.co.uk/).  According to their website, Soundbeam is "an award-winning device which uses sensor technology to translate body movement into digitally generated sound and image," and is "identified as a key resource by the Qualifications and Curriculum Authority in assisting children with learning disabilities."  It is essentially a MIDI device, one that uses "ultrasonic beams and switches to turn music into sound" (Ayling, 2011). Originally developed for dancers, Soundbeam allows students with limited mobility the opportunity to be musically expressive.  Up to four beams can be be attached to the controller, it is seemingly easy to set up and move.  The unit has been simplified from earlier versions, all five functions (synthesiser, sampler, amplifier, drum machine, and soundbeam) of which are all integrated with 30 built-in soundsets.  Ayling says this makes "it usuable in the classroom right away."

The different soundsets in Soundbeam make a wide variety of music accessible to the students.  Others would be albe to interact either with another Soundbeam system, or any other musical instrument or technology one can think of.  Disabled students would thus be able to perform on a varied repertoire of music on instruments alone and with others (NSME 2), and improvise melodies (NSME 3).  Soundbeam also allows part or all of the performance to be recorded, so with collaboration, students can also compose and arrange music (NSME 4).  Depending on the severity of their disability, accomplish NSME 5, 6, 7, 8, and 9.  Of course, singing is an option as well (NSME 1).

There are some videos on the Soundbeam website.  A quick Youtube search will reveal several others.  Check out this video of a student with Spinal Muscular Atrophy performing with Soundbeam:



For those who are able to hold and manipulate objects, Schulmerich, Inc.'s MelodyWave (www.melodywave.net) is an interesting instrument that uses wireless, battery-powered MIDI technology.  They are black and white "batons" (about the size of a flute) that are meant to resemble a piano keyboard.  Each baton can be programmed via the Base Station to sound as a set of 13, 25, 37, or 49.  The base station tone generator has 256 different voices; all you have to do is specify the quantity of batons and the tones for the batons, and hook the generator into an amp and speakers.  This is collaborative music with a big tech spin (think handbell choir).  Students who are unable to play traditional instruments can do more with these batons than the standard percussion instruments.  With a baton, the playing technique is the same while the sound changes.

Unlike Soundwave, MelodyWave users are responsible for specific pitches.  Therefor, they are a important piece of the musical puzzle.  Students can be taught rhythm and melody, following a conductor, dynamics, and other musical elements while playing instruments with others (NSME 2, 8).  Students can also help compose and arrange music (NSME 4) or improvise (NSME 3).  Students can learn their parts by ear (NSME 6), and possibly learn how to read their part (NSME 5).  The various musical sounds that MelodyWave produces gives students the opportunity to experience varied music, from European orchestral sounds, to the sounds of the Indonesian Gamelan.  This facilitates understanding of music in relation to history and culture (NSME 9).

Check out this cool video of a small group playing a Bossa Nova tune:



The company Dancing Dots (www.dancingdots.com) deals specifically with products and curriculum development for blind and low vision musicians, as well as teaching training.  Their newest technology is the Lime Lighter Low Vision Music-Reading Device (link).  Music notation is presented on a wide screen monitor with black and white inverted notes, and is foot pedal operated.  This allows those who need enlarged music to be able to keep up with notation, play in an ensemble, and "focus on the joy of music-making.  The screen can be interacted with, so students can write in their music, zoom, and save marks.  The Lime Lighter comes with SharpEye Music Reader OCR software that allows standard music to be scanned in.

Dancing Dots also developed GOODFEEL (link) software (Windows only) that allows a user to scan in notated music, and transcribe it to Braille.  GOODFEEL includes MusicXML support (for programs like Sibelius).  CakeTalking allows the blind to work with the popular music studio software Sonar (http://www.cakewalk.com/).  With this technology, students are no longer "left in the dark" when it comes to producing their own music.  New York City singer-songwriter Raul Midon uses CakeTalking software to record and produce his music.  CakeTalking "allows you to do audio editing, create tracks, use compressors and reverb... and it all is built so you can access the parameters with speech, because it talks to you" (Midon, 2009).

Check out this video of Raul Midon using CakeTalking:



Autistic children have short attention spans, narrow interests, and often get stuck on a single topic or task; they also prefer to spend time alone and solitary play, and sometimes can "act up" with intense tantrums (PubMed Health; www.ncbi.nlm.nih.gov).  Focused, solitary activities are good for autistic children, particularly music oriented ones.  Autistic children like repetitive sounds, and humming and playing simple instruments (www.sensory-processing-disorder.com).  Solitary music activities can be a gateway to collaboration for autistic children, who generally have problems with social activities, and communication.

The iPad (www.apple.com) has grown tremendously in popularity.  It is quickly becoming a great teaching tool in the music classroom.  Autistic, emotionally disturbed students, and students with limited ability can utilize the touch aspect of the iPad.  There are a few apps (and perhaps several more than I have yet to discover) that may be of some use with special education students, including the autistic, and the emotionally disturbed.  Beatwave is a simple to use visual sequencer app.  Music making can happen within relatively no time.  The user can "grow" into the app and layer rhythmic and melodic patterns, create harmonies, and switch musical events.  Autistic children like "sameness"and patterns, so the visual display could be attractive to them.  They can draw pictures of sound, and arrange patterns of sound.  The patterns can also provide a soothing effect, and hopefully hold the child's attention.

Check out this awesome Beatwave demo:



A different take on the touch based music idea is Bubble Harp (www.snibbe.com), an app that traces your touch movements and creates abstract art, patterns, and music.  The tonality can be changed to different modal and world music scales, and the rhythmic durations can be changed.  Thicket (www.intervalstudios.com) is essentially a simplifed multitouch sequencer.  It has five different musical settings and patterns, accessed by the way the iPad is held.  Thicket responds visually to gestures, rhythmic tapping, and pinching.  This one is a really simple way to get into music.

Bubble Harp demo:



Thicket demo:



Bloom (www.generativemusic.com) is one of three apps by Generative Music.  Bloom was developed by the ambient music composer Brian Eno and software designer Peter Chilvers, who describes it as "the music box of the 21st century" (2011).  Bloom provides several different moods as palettes for creating music.  Select a mood, and start touching the screen to create circular shapes that "bloom" on the screen.  A drone is played with a corresponding color gradient background; the color of the blooms correspond to the mood as well.  Pitch is determine by high and low regions, so it is possible to form coherent melodies and ostinati rhythms (NSME 6).  Multitouch allows users to create chords and chord-like sounds as well.  The generative aspect refers to the touches being recorded and cycled (users can change the frequency of the cycle).  So a user need only play something once to keep it around for a while.  It can all be cleared with a shake of the device.  When I first downloaded it, I spent nearly an hour "spacing out," creating music and trying to create structure.  I came to appreciate the uncontrollable qualities of the ambience I had created!  Bloom is a great way to introduce anyone to the ambient music, minimalism, and other unique compositional techniques associated with sound and the late twentieth century (NSME 8, 9).  Visual applications such as Bloom and Bubble harp also form a meaningful relationship between music and visual arts (NSME 8)

Bloom demo:

Technology has been able to bridge the gap between regular and special education students.  MIDI technology has been around since the 1980s, but it has never been so widely accessible.  Today hardware and software like Soundwave, and Melody Wave, and touch screen technology like Apple's iPad are making it possible for everyone to make music.  From my 8 month old son, who loves Bloom and Thicket, to a student with a degenerative spinal disease or mental retardation, or a blind studio musician, technology is making it more possible to perform, create, and understand music.  The rise of technology in the music field is progressing at an extremely fast rate, helping to reestablish music as a truly communal art!

Coming Soon: The benefits and disadvantages of technology in music

Sources:

Activities for Autistic Children.  Retrieved from http://www.sensory-processing-disorder.com/activities-for-autistic-children.html

Ayling, Pam.  "Soundbeam Classroom Music Review."  Retrieved from  http://www.soundbeam.co.uk/downloads/reviews/soundbeam-classroom-music-review.pdf

Beatwave for iPhone, iPod, and iPad [video file]. Retreived from http://www.youtube.com/embed/0Y9RO5aaYWA

Bubble Harp.  Retrieved from http://www.snibbe.com/store/bubbleharp/


Bubble Harp for the iPad, iPhone, and iPod Touch [video file].  Retrieved from http://www.youtube.com/embed/ly8tgaswRo8

Dancing Dots. (2005). Retrieved from http://www.dancingdots.com/main/index.htm

Generative Music.  Retrieved from http://www.generativemusic.com/

iPhone apps, Bloom [video file].  Retrieved from http://www.youtube.com/embed/zBPna8dFejY


Kaneshiro, Niel K. (2011). Autism. Retreived from http://www.ncbi.nlm.nih.gov/pubmedhealth/PMH0002494/

Melody Wave. (2006). Retrieved from http://www.melodywave.net/

MelodyWave [Brochure]. Retrieved from http://melodywave.net/documents/MelodyWave.pdf

Midon, Raul. (2009 September). Raul Midon - The Making of "Synthesis" [video file].  Retrieved from http://www.youtube.com/watch?v=pDRuj5Od4y8&feature=player_embedded#at=110

National Standards for Music Education. (2011). Retrieved from http://www.menc.org/resources/view/national-standards-for-music-education

Sonar. (2011). Retreived from http://www.cakewalk.com/

Thicket.  Retrieved from http://www.intervalstudios.com

Thicket 2.0 Demo [video file].  Retrieved from http://www.youtube.com/embed/I8XklLnZ7rs

The United States Department of Labor. (2010-2011). Bureau of Labor Statistics' Occupational Outlook Handbook. Retreived from http://www.bls.gov/oco/ocos070.htm

App Instruments

With the release of the iPod touch and iPhone in 2007, the world saw a flood of new "apps" (applications) for almost anything you can think of ("there's an app for that").  Within Apple's App Store, there have been several music related apps, some of which have proven to be quite handy in the classroom (see my previous post "Apps for Practicing").  There are other apps that are what I quite simply call "instrument apps," those that simulate real instruments, or are entirely new instruments that function solely within the iDevice OS.  In today's post, I'll be looking at a few that I've come across that could be beneficial for your students to explore in the classroom.

Smule's Ocarina (ocarina.smule.com) was the first instrument app that I downloaded years ago on my iPhone 3g.  It functions the same way a real ocarina would: There are four "holes" that produce various pitches with various combinations, and you have to blow into the microphone end of the iPhone to produce pitch (for iPods without a mic attachment there is the option to produce pitch without blowing).  The ability to record, broadcast, and listen to other ocarina users worldwide is also a very cool way for your students to connect to a global musical network!  The ocarina app is as easy (if not easier) to learn than a traditional recorder would be, so the opportunity to create small iPad ocarina ensembles (or one big one!) is definitely possible.  The ocarina can be programmed to play in any key, in any mode.  This could be a cool way to learn about different scales and tonalities.  It would also be a great way to introduce the culture and music of the Native people who use traditional ocarina instruments.

Also by Smule is Leaf Trombone World Stage.  This app is geared more towards individual performers.  A simple accompaniment plays on the left of the screen, while the trombone leaf slider appears on the right.  The user moves the slide as the "notes"(leaves) apear on the left.  The performer must position the slide as to line up with the leaves.  A plus and minus button allow the player to change octaves.  Like Ocarina, you can blow into the mic or turn on touch mode.  The songs are user based, so sometimes they aren't very good.  Another downfall to the app is the difficulty of tuning the trombone.  Over time, I'm sure it could be used to teach the concept of pitch, but at first it just comes off as stupid!  An interesting feature is the ability to judge other users' performances on the "World Stage."  This gives students the opportunity to fullfill National Standard of Music Education number 7 (evaluating music), however the quality is often poor, and to be evaluated is often a downer.  Overall it might be fun for a laugh, but probably not good for high quality music education.  If you do use it, I recommend using touch only.

Amidio has developed several "futuristic" virtual instrument apps, and is currently developing others.  Probably the most recognizable is Seline.  Seline provides an entirely new layout of keys that is much different than a traditional keyboard.  The controls are split between the left and right sides of the screen so that users can  play scales when alternating hands.  Lower notes are towards the bottom of the screen; higher ones are at the top.  There is a slider in the middle for effects and pitch, and there are strategically place keys that allow the user to go up or down a whole-step.  Users can affect the layout of the "keyboard" by transposing to any key, octave selections, and scale presets.  The scale presets allow users the explore different scale sounds without prior knowledge of music theory.  This is a great way to introduce these concepts.  Users can also record their improvisations, or get together with other users and compose music  and perform it together (see the iPad orchestra video posted earlier).  I have seen videos of another Amidio app called OMguitar, and another creative instrument called iHolophone.  I hope to get some experience with these apps soon.

There are many piano and guitar simulator apps as well, but the best seem to be included in the iPad version of GarageBand (more on that in a later post).  However, there is one very cool free synthesizer app called NLog Synthesizer (www.temporubato.com & www.standalone-music.com).  The app features several high quality sounds, as well as other synthesizer knobs and wheels.  There is also the option to change octaves during performance, the ability to split the keyboard for multiple octaves, and several other detail options for the exploration of sounds (tuning, delay, cutoff, etc.).  You can't argue with free, so this would be a cool app for live performance in groups or solo.  Another cool keyboard app that allows you to explore a multitude of sounds is the 50 in 1 Piano (www.50in1piano.com) available for $0.99 in the app store.  Users can explore everything from organ, cello, and saxophone, to synth sounds, electric guitar and drum kits.  Users can also record what they play, as well as live audio with the built in mic, then export this audio (not sure how yet).  When playing back your recording, you can even see what keys you pressed, which is great for capturing a song idea (or creating a one man band!).  For those of you who prefer a more simple keyboard (and a free one), I like Virtuoso Piano because of its touch sensitivity.  Other than that, the app is add supported so they tend to get in the way.  Users have the option of paying $0.99 cents to remove the ads.

If you have an iPad, most of your needs will be met with the $4.99 version of GarageBand.  If your students have iTouch or iPhone, this isn't available to them yet, so one of the previous options would be fine.

Video of the Day: iPad Seline Orchestra

A preview of my Seline post (coming soon).  A neat way to use technology to perform together!

iPad/iPhone Apps for Practicing

I have been a loyal Apple supporter since late in college, when I purchased a used Powerbook on eBay.  After that thing died, I bought my current MacBook (which I just upgraded the memory on!).  Because I love the way that Apple designs their products, I decided to buy the iPhone 3g around that time, and have since replaced this with the new iPhone 4.  Over the last few years I have found a few apps that I use constantly when I practice, or when I teach.  In today's post, I'm going to talk about some of the staples of my app collection, and some that I have either sought out because of this independent study, or have been introduced to in iPad labs.  The iPad is an extremely versatile device, and I hope to have the chance to integrate it into my curricula someday!

I have a folder on my iPhone called "Music Tools," so for the purposes of this blog I will refer to them as that.  The two music tool apps that I use the most when practicing and rehearsing an ensemble is Cleartune  and  Clockwork (both from www.bitcount.com).  Clear tune is an extraordinarily accurate tuner.  It displays a cents gauge at the top of the screen between -25 and +25.  The bottom of the screen shows the actual pitch on the top of a chromatic "wheel."  The tuner stays right with whatever pitch is sounding (no lag).  There is a small button in the middle of the screen that allows you to turn it on or off; there is also another button on the right of the screen that allows you to play any note you select on the wheel (through the device speakers).  There nine octaves (!!!) perfect for providing a reference pitch or a drone for any instrument or voice.  Some other features allow you to transpose, change temperament, or calibrate the A4 pitch frequency (for temperature changes, etc.). 

Clockwork is versatile metronome app that just happens to be from the same developers as Cleartune.  The main interface is a clock-like circle with a tempo slider underneath.  There are several tuners on the market, but what makes this one stand out for me is the ability to set the subdivisions of the beat to different volumes.  This makes using the app similar to using Boss's Dr. Beat device.  It is lacking in a wide choice of metronome sounds (no voice).  I like the click track feature which allows you to create sections within songs that define different tempi, or even gradual changes in tempo, changes in meter, and number of measures per section.  This is ideal for rehearsing different pieces of music as a whole, although it does take some patience to learn.  Also essential is the ability to tap and find any tempo.

Other than the occasional freeze up, I have no problems with Cleartune and I find it usually very reliable and always accurate, therefor I give it 10/10 for usability.  Clockwork freezes up sometimes, and so checking tempo in the heat of rehearsal can be a stressful occasion.  However there are great features and a slick UI, so I give it an 8/10.  The application for the iPhone versions as an educator are great: I always have my phone with me, so I always have my tuner and metronome.  If students have access to a practice room and an iPad, they too can have these tools, as well as the rest of their iPad arsenal (PDFs of music, recordings, website information, etc.).  Each can be used to check pitch or tempo in rehearsal quickly; students can use Cleartune in groups to tune each other, or check the pitch tendencies of their instruments.  Clockwork applications include gathering in groups or pairs and testing each other on the ability to maintain tempo or recite specific tempi.  The better your students' pitch and internal pulse is, the better.  The more access they have to these tools in order to practice more efficiently, THE BETTER!

It is worth mentioning a few free apps that are fairly comparable.  Free is good when dealing with several iDevices, so I always try to look for these in the App store.  Steinway & Sons has a beautifully designed (customizable colors) metronome app simply called Metronome.  Tempo is set via a dial, but your finger will get in the way of what tempo you are actually setting.  The tap feature is on par with clockwork, and you can set a variety of time signatures.  However, there is no subdivision of beat which is most likely the cause of the free price tag.  Gibson also makes a great free app called L&M Guitar as a promotion for their Learn & Master Guitar instructional series.  Included are a metronome (same features as mentioned, few time signatures), a chromatic tuner that can be set to different guitar tunings, a chord reference chart that shows finger positions on a fretboard, and sample lessons from their previously mentioned series.  This is a GREAT free app for students and pros alike!  I highly recommend this last one for its functionality and free price tag.

I recently downloaded a really awesome free app for my iPhone called Anytune ($4.99 with advanced features) available from Anystone Technologies, Inc.  This app allows you to upload any mp3 on your iDevice and slow it down (or speed it up) for practice purposes as well as specify sections and looping  them.  The technology allows you to change the tempo without changing the pitch, or to change the key by semitones which is helpful especially for guitarists, pianist and vocalists.  This is great for students trying to play along with a piece of music, and it is especially useful for students trying to transcribe music.  Jazz students will find this extremely helpful when transcribing jazz solos, an activity that is useful for incorporating new ideas and techniques into improvisation.  Probably the most well known software of this kind is The Amazing Slow Downer (www.ronimusic.com) available for the computer as well as iDevices.  Their app probably has more features and is more flexible, but I can't justify spending the $14.99 on an app that I don't use all that much.

The last thing I'd like to mention in today's entry is the Voice Memos app.  I'm not sure if this is available on the iPad, but I assume it comes preinstalled on the iPad 2 because of its built-in microphone.  Voice memos is the perfect way to record yourself practicing or your ensemble rehearsals.  Play it back for students to critique, or import it and send it out via email.  Only good things can come from self-critique and reflection.  Having students do this will satisfy National Standard 7 (Evauluation of music and performances).  Just like your metronome and tuner, iPhone users always have their recording device with them.  Regardless of the developer of the apps you use, having a tuner, metronome and recorder will complete your rehearsal app trifecta!

Review: Scorio (Free online music notation)

In a recent lab I had the opportunity to use the Scorio (www.scorio.com) app on the iPad.  At first I was impressed with the ability to use a touch keyboard interface to input the music notation.  However, upon further experimentation later the computer version of Scorio, I quickly that it has a lot of potential, but just misses the mark in its current form.  Much like Noteflight (see my previous review), the idea of Scorio is that users can access notation software on the internet for free and share their creations with anyone they wish.  While users can achieve this with Scorio, they will probably find that it is an arduous process, filled with frustrations and a steep learning curve (3/10 in my opinion).

Some of the features are very similar to Noteflight: notate music, share it, browse other users creations, the ability to save and print (registered users only), a user forum for discussion and improvement, etc.  There are many of the basic functions of a music notation program, such as inputting notes of various rhythms and pitches, time signature, key, tuplets, endings, text and other various musical symbols.  There is the ability to import and export music files (XML), however when trying to import a relatively large and detailed file, the import failed.  I do like the look and the layout of the site, and the drop down menus make sense (different from Noteflight's floating menu).  Even with all these features, Scorio still falls short because of the difficulty of using the notation features.

I played with Scorio for about half an hour and found some things that make using the site frustrating: after creating a new piano score (grand staff) and creating a few notes of various rhythms in both the treble and bass, I found that the ability to use the keyboard on the computer to input notes does not exist (if you type the letter 'g' on your keyboard, no G will be input into the music).  Therefor, you must either click on the staff to create notes, or use the keyboard at the bottom of the screen.  When using the on-screen keyboard, further frustrations arise.  There is no reference pitch, and no way to tell you what the current or previous note selected is on the keyboard.  So, if you or your students are unfamiliar with the keyboard octaves and their placement on the staff, you will be typing in notes blindly and hoping that the right octave is selected.  When doing this in the bass clef for instance, the notes automatically are input on the treble staff if they are in that range.  Perhaps there is a way to specify the use of ledger lines (I saw another user who had several ledger lines in their bass staff), but it is not obvious to me.  When inserting a tuplet, the beaming does not always make sense.

Another thing that makes Scorio frustrating is the inability to use the arrow keys to select and input notes.  I also cannot toggle between note selection mode and notation mode.  When playing back your work, there is no cursor that follows the music, and the music view does not change on the page as music progresses.  These really should be linked together.  There are other features that are lacking in Scorio: There is no way to plugin a usb interface, and therefor there is no real-time input of music.  I could find no way of plugging in a USB/MIDI interface for use with Scorio.  There seems to be no support for larger ensembles in the score creation section, only chamber groups or solo instruments.  Chords and text are inserted separately and is awkward.  There are no way to input expressive marks (dynamics, instructions, etc.).  This is a basic necessity and simply can't find it there. 

Perhaps I just don't get it, or perhaps my browser doesn't handle it correctly (Firefox 4 running on a MacBook).  I like what Scorio is about, free access to music notation, however the frustrations of using it (even for a experienced Sibelius user), and the lack of certain features (expression marks!) would probably turn more students away from using the program.  Developers of Scorio: if you are reading this, please let me know if I am missing something.  If I'm not, please consider fixing some of these issues.  In its current state, I do not recommend using Scorio with your students.  I don't think either Noteflight or Sibelius are a substitution for a regular notation program such as Finale or Sibelius, but they could work in your classroom.  Noteflight would be a better choice at this point in time.

Review: Noteflight (online music notation)

Noteflight (www.noteflight.com) is a widely used online musical notation program, designed to give you and your students the tools needed to compose music where there is a computer with an internet connection.  Noteflight has a free plan for individual users that offeres the notation editor with limited features: 25 scores per account, 10+ basic instrument sounds, any number of staves, 20 levels of undo history, and the ability to print and import MusicXML and MIDI.  The premium version is called Crescendo ($49/year) which offers an upgraded version of Noteflight's features, making it more like a high dollar music notation program.  Some of the premium features include: 250 scores per account, 50+ instruments, individual part printing, guitar/bass tab editor, a mixer, score templates, ability to change the color of notes and symbols, and the ability to create learning activities for groups.  For K-12 use classroom use, Noteflight Classroom ($295/year) supports up to 250 users per site, and the ability to administer one private site for your classes.  Noteflight Classroom contains all the features of Crescendo, and needs no IT setup (so you are in control!).  There is also a Noteflight District plan that is custom priced based on the size of the enrollment.

A cool feature available to all users is the Browse feature which allows you to check out what other people have written, favorite it, or comment on it.  This is great especially for younger students, or amateurs.  Your students would be able to benefit from feedback on their compositions, leave feedback on other's music, or even collaborate with someone in another school (or country!).  Like your own Noteflight notation, you can change certain aspects of the score such as the tempo, or the mixer (paid only).  However, while listening to some user compositions, the playback would often stop, only to sustain whatever note it stopped on.  The playback sounds are a bit obnoxious for most of the instruments, so this event turns an already poor sound into an unbearable one. Also, because the program functions through the internet, the speed that pieces load is entirely dependent on the internet connection.

Using the notation feature feels comfortable from the start.  You can insert text, expression marks, various pitches and rhythms, key signatures, etc., everything a student would need.  These are available in a small popup window that can be moved.  There are a few little things that bother me about the way notes are input into the score, but overall the process is easy, and it is easy to create something in a short amount of time, save it for later, or share it with your students (or to their teacher).  Noteflight keeps track of the compositional process, so teachers can observe how their students got to their destination.  Most of the notation features are fairly basic compared to expensive software, and aren't really designed to create a major work.  It would be necessary to upgrade to Crescendo to more detailed works.

The benefits to having affordable notation software in the classroom and at home are enormous.  Never before was it possible for every student to have access to such software.  Many of the National Standards for Music Education (http://www.menc.org/resources/view/national-standards-for-music-education) can be achieved through the use of Noteflight/Crescendo.  Students of all levels can compose and arrange music according to your specified guidelines (Standard 4); they can notate music that they hear or apply concepts learned from aural training software (Standard 5); they can read the music that their peers write (Standard 5); they can sing or play music that is created by you, your students, or their peers (Standards 1 and 2); they can easily listen to or playback music in the software, analyze that written music, and describe the music they see and hear (Standard 6); they can evaluate their peers' or other Noteflight users' music (Standard 7).

I would use this Noteflight in my classroom because it opens a whole new creative world to many students who otherwise would not be able to be apart of that world.  It also allows the teacher to participate in the creative process.  Noteflight can be easily integrated into any music classroom.  I do highly recommend this software for its ease of use, its affordability, and its accessibility to anyone with a computer.  It will take some time for someone who has never used notation software, so I give it a 7/10 learning curve, and a 10/10 as a teaching tool.

Review: Teoria.com (free online music theory)

Hey bloggers!  Its been a few days, but I'm back!  I've been preparing for a studio recital, as well as taking care of my 6 month old son.  Things can get crazy at this time of year!   To mix it up a bit, I'm going to give the rest of my reviews in narrative form.

In this review I'll be looking at Teoria (www.teoria.com), the first free online music theory program that I reviewed that is both written and aural theory based.  It's actually a little bit addicting to use, mainly because of the variety of exercises and lessons, as well as the ability to customize the exercises.  For example, if you are doing rhythmic dictation, it is easy to focus on just common time signatures and simple rhythms; or for the more advanced, select some compound meters and  syncopated patterns.  The program is a great challenge for all levels.  For advanced features such as grade tracking, or access to the website content offline, there is an annual fee of $20 (includes updates for that period of time).  This is the best way of tracking your students progress, turning this free online program into a powerful classroom teaching, exercise and assessment tool.

Ear training lessons and exercises include rhythm, notes, and intervals, as well as various scales, chords, and melodies.  The method of answering each question is also customizable.  You can select to answer via note name, a visual keyboard, or chord type (more simple).  Therefor, if you want your students to use keyboard skills, they can be a little more challenged this way.  Setting a timer for the exercise is also an option, as well as changing the clef that the exercise is presented in.

There are several more written theory based exercises (much more than listening).  There are three categories of Music Theory and Reading Skill:  1) Clefs, Reading, and Writing: reading and writing transposing instruments (great for students interested in composing or conducting), interval construction and ID, jazz theory (chords, scales, modes, etc.), key signatures, scales, rhythm; 2) Chords: Triads, seventh, ninth, and extended chords; and 3) Harmonic Functions: Triads, seventh chords, secondary dominants, diminished sevenths, augmented sixths, and neapolitan sixth chords.  These are customizable as well.  Each exercise is always followed by immediate feedback via a percentage (based on how many wrong clicks made in the time given), and auditory feedback (the playing of the correct form of the exercise.  This helps connect theory to practice, an extremely important function of music theory.

Tutorials (or lessons) go along with the exercises, which are designed to enhance the tutorials.  The categories of tutorials include reading music, intervals, scales, chords, harmonic functions, and music forms (not found in the exercises).  Many of the lessons are accompanied with visual and aural examples, and sometimes historical context and application.  However, the placement of each aural example doesn't always go along with the visual.  Some examples make it less obvious to be able to start or stop an example, as it is imbedded into each page via Adobe Flash (no pause button; must "right click" to select stop).  Some students would probably prefer to read and absorb information before being presented with an example.  Although controlling the example could use some improvement, the example itself is presented clearly and is fully annotated, such as the lesson on form.


Some tutorials include applets, such as the interval constructor in the interval tutorial.  This allows students to select whichever interval they like so that they can see it on a staff, and hear its sound.  These applets are great reference tools, in addition to the reference section.  The reference section contains a "clickable" dictionary of music terms, some of which have visual explanations.  It is not the strongest part of the website, and I would probably use another site like Wikipedia for detailed descriptions of terms, however it is good for a short reference and for use with student assessments.

In contrast to the reference section is the articles section, written mostly by the website's author Jose Rodriquez Alvira.  For example, one of the articles is written on J.S. Bach's The Art of the Fugue, which contains a visual/audio example of the main fugue subject, followed by examples of the other fugues, and canons.  Most of these are elaborated in sub-articles (sort of like a wiki) that explains elements of the fugues with examples.  These lessons provide either a great framework for shaping your own in-class lesson, or perhaps as a starting point (reading assignment) for your students.  These could be used in an ensemble in conjunction with learning a particular genre or style, or in the theory or general music classroom.  In addition to analyses, there are several general articles on playing, reading music, and tools for teachers.

Teoria is a cheaper alternative (or free) to some of the other programs like Musition and Auralia, although it is not as slick or flashy.  However, the content is on par and in many ways easier to navigate.  With the Teoria website, users can get the full experience of the software for free, making the free version much more valuable than most demos.  I would give Teoria a 9/10 for learning curve, and a 10/10 as a learning tool.  I recommend this program, particularly for schools or students that cannot afford other programs.  This tool can be implemented throughout all music curricula to enhance written, aural, and performance skills. 

Native Instrument's MASCHINE (Video of the Day!)

Check out this video of Jeremy Ellis performing on Native Instrument's new MASCHINE. Do you think this technology would work in the music classroom? Or is this something best left to the professional and home amateur?

Auralia 4 (Demo - Aural Theory)

After checking out www.goodear.com, a free ear training program available online, I decided to search out something that was a little more substantial.  What I found is the aural theory program Auralia 4 ($99-$149), and its companion theory program Musition 4 (www.risingsoftware.com).  This review will be of Auralia 4 only.  I will give the software a learning curve of a 9 (well-designed interface), and its effectiveness as a teaching tool a 9 (integration of written and aural examples and lessons).  On their website you can find a demo for both mac or pc.  I downloaded the demo, so I'll base most of my review on this.

Overview:  Auralia 4 has several types of aural exercises that can either be completed individually, or as courses designed to fit different types of syllabi (AP theory, jazz, band, solfeggio, or Auralia's companion programs from Musition).  Each syllabus highlights different courses specific to each (for example, the band syllabus focuses on interval and chord recognition, scales, several rhythm courses, forms, tuning etc.)  Each exercise or course is preceded with a lesson, of which includes musical examples that are always "clickable."  Students may use a USB/MIDI device (to play back answers), a microphone (to sing answers), a solfeggio tree, or a mouse for multiple choice.  There are assessments that track different users results, which can be printed, saved to pdf, or exported as a CSV file (spreadsheet).  As an administrator, you can set up multiple classes and track users through the program.

Strengths:  Auralia 4 is a very organized theory program with an attractive user interface.  There is a wide variety of exercises that accommodate differing learning styles (visual/aural/tactile).  The program has an attractive, interactive user interface that gives students the ability to answer questions through performance.  Courses are catered toward both beginner and advanced students and are highly customizable for particular classes or individual students.

Improvements:  "Beginner" does not mean absolute beginner.  They do assume that the student knows basic notation, thus making the program only beneficial for some elementary and older students.  Auralia 4 operates with multiple windows.  Sometimes these windows become cluttered or become covered.  When demoing an absolute pitch exercise, I tried to close out of this and was unable to back out (I had to restart the entire program).  Also, I like that Auralia 4 will compare your answer to the correct one if you get it wrong, however you are not able to hear the difference.  Thus, a teachable moment is sort of lost at that point.  Clicking can get a little old, and I would like the option of navigating the program with a keyboard.

Implementation:  Auralia 4 would work well in ensemble or theory courses.  It could work well with general music students, but only after they have a firm grasp of basic notation concepts.  Because of the way the score keeping is designed, it would be a great way to create homework to develop musicianship.  These concepts could be implemented into warmup routines, or used to highlight concepts in the ensemble literature (like formal principals, or cadences).  Auralia 4's Courses would line up very well with lessons taught in class, or they could be used to lesson plan.

Recommend? : Yes.  This program is fresh, and the company likes hearing from its users.  Auralia 4 seems like a good all around aural theory program that would be easily implemented into the curriculum.  All and all, this program is much more interactive than the free software, due to the "clickability" of examples for listening, and the ability to plugin your own devices.  Try the demo for yourself, and check out the embedded video from their website.  I recommend using a USB divice such as M-Audio's KeyStudio (shop.avid.com).

Pat Metheny's Orchestrion (video of the day!)

This is a really cool project from one of my favorite jazz guitarists, Pat Metheny. From www.patmetheny.com: "This project represents a conceptual direction that merges an idea from the late 19th and early 20th centuries with the technologies of today to create a new, open-ended platform for musical composition, improvisation and performance."

www.good-ear.com (free online ear training)

The first series of programs I looked at are music theory and ear training programs, many of which are free and available on the internet.  I will answer a series of questions about each program, essentially what the features are, what I like or didn't like, how user friendly it is, and how and if I'd use it in my classroom (each on a scale of 1-10, 10 being the highest or best).  For those of you who are looking for this sort of thing, it will hopefully provide a good starting point for your own experimentation.

(Instead of posting one giant post, I will break up each of these and post one or two every day or so)

The first site I looked at was www.good-ear.com, a free online ear training website.  I would give it a learning curve of 9 (simple, clean), and an 8 for use as an instructors tool (needs pre-instruction).

The exercises include: intervals for the beginner (simple, major/minor, etc.), more advanced intervals (ascending/descending, both diatonic and chromatic), chords (major/minor/inversions), scales (modes, pentatonic, minor, etc.), cadences (full progressions, and bass only), jazz chords, note location (based on solfeggio), and perfect pitch (pitch memory).

Strengths:  There is a variety of exercises that focus on developing students' ability to recognize things by ear.  There are also options that include slowing down the tempo, changing the volume, or changing the instrument, which helps keeps the exercises fresh.  The student also has the opportunity to replay the exercises any number of times.  There are different levels that either limit the exercises so that students can focus on basics, or can include the whole range of notes, scales, intervals etc. for the more advanced students.

Improvements:  Each section could be prefaced with a lesson, or at least a description of the exercise or instruction (it is sort of like jump in head first,  oh and good luck with that!).  It would be hard to assign this as homework to be graded, because there would be no way of submitting the assignment other than a screen shot of the number of exercises that were right.  This also does not specify which exercises the student completed, or how well he did on a particular exercise.  It simply keeps track of the total number of exercises completed.  The lessons do get a big monotonous (dare I say boring?), especially after clicking "try next one!" several times.  It is very plain, no flashy stuff here!  Also, there are no rhythm exercises.

How to implement:  It would be possible to use in an ensemble class, perhaps as a warm-up exercise, or a general lesson in theory and aural theory.  In concert band it could be a great way to break up rehearsing every copule of weeks and teach the fundamentals and develop the musicians' ear training and theory knowledge (outside of rehearsing).  I would definitely use different exercises in conjunction with teaching certain concepts.  An example of using this program in jazz band would be to use the scale exercises and have the students "figure out" the scale on their instrument (such as half-whole diminished).  This could be used in conjunction with lessons on improvisation.  Over time, they should be able to play all scales from memory and hopefully able to incorporate the theory into practice (half-whole diminished over a ii-V-I for example).  I would not let most students loose without some instruction.  Overall it is a good "drill" program, particularly for theory or general music students.

Recommend?  Yes.  I would use this program several times in secondary music theory, general music, and jazz classes especially as labs and possibly homework assignments.  It could be used in ensemble settings as group warm-up exercises, as well as general musicianship training.

What is Music Education Technology? (Essay #1 - Intro)

(This is part 1 of the first of a series of essays on music education technology)


A brief discussion of the term "technology" will shed some light into this question.  Encyclopedia Brittanica Online partially defines technology as, "the application of scientific knowledge to the practical aims of human life."  The term "science" refers to the study of the "physical world and its phenomena" that involves "unbiased, systematic experimentation" (Encyclopedia Brittanica Online).  When these terms are applied to music education technology, we can decipher this as "the application of systematic experimentation to practical teaching and learning in the music classroom."


Wikipedia states that, "Technology can be most broadly defined as the entities, both material and immaterial, created by the application of mental and physical effort in order to achieve some value."  Technology isn't limited to computers or cell phones.  It could refer to a car engine, an oven, or even your toothbrush.  In music, some of the earliest technology included the musical instruments, and later the phonograph.  Technology in specific fields often become "sticky" when they are used in a variety of ways, or by a large population.  Specific bits of technology develop as they become more popular.


Today there is a wide variety of technology available to music educators.  In this first essay I will explore different some of these types of technology, particularly computer software, internet websites, and applications.  I will also take a look at some new hardware that can be used with or without computers.


Look for the next part 2 of essay #1: "Music Theory" soon

Funny Music Tech Video

Okay, so its 7:45AM, and I'm sitting in my office.  What could be more productive than doing random searches of music technology on Youtube?!  I found someone in a similar position who made this video on three pieces of software and technology that I'll be looking at soon.  Enjoy!

Introduction to "The Music Ed Tech Project"

Welcome to my new blog, "The Music Ed Tech Project"!  This blog was created as a creative way to submit assignments that fulfill the requirements of an independent study about (you guessed it!) music education technology!  Each week starting in April, 2011, I will create a new blog entry that will explore specific aspects of technology in the music ed classroom.  These will be my official "assignments," and will focus on the use of websites, software, hardware, instruments, etc. as teaching tools, the use of technology with special education students, and the advantages and disadvantages of using this technology.  The study will culminate with curriculum projects that will focus on the integration of this technology into different music curriculums, mainly high school band and high school general music.  When it is all said and done, I hope to keep the blog going as a reference for future and current music educators.

I'm so glad to have you here!  Please feel free to comment with suggestions, and anything that you have found or used in your classroom.

Thanks!

--Chris
Music Ed Grad Student