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.