Microsoft: OneNote Review

I have heard many good things about Microsoft's OneNote and briefly played with it only to set it aside and forget it since I already used other programs for the same tasks.  Upon a closer inspection of the OneNote for Teachers website, I discovered that I could use the program to consolidate several programs I have been using into one place, making it easier to organize my workspace.   OneNote can be used to organize lesson plans as well as deliver instructional content and other materials needed to run a classroom .  OneNote is flexible enough to allow one to display information in a way that best serves its purpose.  I quickly set up a bulletin board that I could display as students enter or exit the room while keeping lesson materials in folders for specific classes.  This bulletin board can also be shared with students and parents so they can  keep a copy for referencing while away from the class.  For those who do not have and Office 360 account, the page can be exported as a PDF and printed to distribute hard copies.

  I used the Mac version of OneNote and it seems like some of the features are missing.  I was not able to transfer my files to Word or export to Blogger.  I also downloaded OneNote Clipper but I cannot get it to work as of yet.  I am not sure if it is an issue with my computer or a platform issue, but some of the usability feels a little limited.    Overall I like the usability and versatility of OneNote and I look forward to seeing if I can figure out how to work around the issues I encountered.

Productivity and Professional Development

At this stage in our journey, we have come full circle.  Education is fundamentally changing and it is nearly impossible to ignore the amount of technology that is available for teacher development and student learning (Bazan, 2016).  This course ends with a discussion about using technology for productivity tasks.  This is probably the area teachers are the most comfortable with because most productivity tools are not specific to the music discipline and much of it is readily available on school campuses.  Evidence seems to suggest that music teachers tend to use "technology primarily for administrative tasks" (Bauer, 2014, p. 9).

Both Bauer (2014) and Bazan (2016) outline many of the productivity tools that many of us use every day.  While I agree that technology can make it easier to manage a music program, I have to remember that one of the purposes of technology in education is to make things easier for the students and parents.  For example, calendar programs are very popular planning and scheduling tools.  I use them a lot and I keep a detailed calendar of events for my students on the school website as many teachers do.  However, many of my parents prefer that I give them a list of events that they can pin on the refrigerator or family bulletin board.  While the school website calendar allows people to export their own schedules in list mode, the parents were extremely grateful to receive a printed schedule in list mode.  They even prefer it to paper calendars because the list format takes up less room.  The  analog solution seems to be the best option for this group of parents.   Calendar programs are helpful in this case because I only need to make one calendar and generate all the versions I need.

When I first started teaching, it felt like a golden age of professional development in California.  All you had to do was turn in a written request to your principal and you could practically go anywhere for "professional" development paid for by the state.  During that time I got to participate in conducting symposiums and band director conferences all over the state and even one in Texas.  While those days are now over, Bauer (2014) described how a person can set up their own professional learning network (PLN) without any geographic limitations through the implementation of technology.  Using both formal and informal online learning platforms, teachers can stay informed and trained on current teaching and learning practices.

I have been lucky in my current teaching positions that I have been able to work with teachers that not only use technology-based instruction in their classrooms, they are also willing to share their practices with other teachers.  I am also fortunate that technology enabled me to participate in a master's degree program based half-way across the country with more convenience than participating in a program from a local university.  The best part of the process has been getting to work with instructors and fellow students whose perspectives can be very different from my own.

Bauer (2014) asked the readers to evaluate their own competencies based on the TPACK model and develop a plan to address areas that need improvement. For me, my areas of strength were Content Knowledge (CK), Pedagogical Knowledge (PK), Pedagogical Content Knowledge (PCK), and Technology Knowledge (TK).  I feel that I have improved in the areas of Technological Content Knowledge (TCK) and Technological Pedagogical Knowledge (TPK) but further development is needed here to bring together the elements of my TPACK.  I no longer feel like my technological life is as separate from my musical life as it once was.

Part of my plan to develop my Professional Learning Network (PLN) is to hone my Feedly sources down to the ones that are yielding the most relevant results.  I also plan to expand my network and gain insights from other experts in various fields.  I find that confining myself to music and education sources can limit my professional development.  Business and consumer technology are other areas of interest that can bring new ideas to my PLN. 

References

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

Bazan, D. (2016). Technology assisted music teaching & professional development [Powerpoint slides]. Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641932-dt-content-rid-52157291_1/courses/14924.201660/Week%207/Lecture/index.html

Music Creation Project - "The Eyes Have It"

Here is the song I wrote for the music creation project.  The song is based on the science-fiction short story by Philip K. Dick.  The story is a light-hearted play on figures of speech in the English language.  At its core, it is a story about paranoia during the Cold War in the 1950's.   The main character in the story finds a book on the bus and begins to read it.  Taking all of the text very literally, he is frightened by the figures of speech and idioms found in the novel.

My singing leaves a lot to be desired but I did try to remain true to the original story.

Technology and Student Access to Information and Music

There is a fundamental difference in the way students now acquire and interact with information than when I was a student.  I saw the beginnings of the changes when I started teaching 17 years ago, but I never imagined things would change this much.  Bazan (2016) referenced two icons from my youth; the mix-tape and encyclopedia.  Technology has transformed the way we interact with information and music.

One thing I remember about mix-tapes is how permanent they were.  You had to plan the tracks so you did not run out of space in the middle of a song. Then you broke the recording tabs on the cassette so no-one could erase the tape by mistake.  You were basically committed to the tape unless you recorded the entire cassette again.  One trick I learned was to record audio only tracks on a video cassette because the sound quality was better and you could make six to eight-hour mix-tape of party music, eliminating the need to constantly change cassettes, records and even CD's.

 In contrast, modern playlists are dynamic and ever-changing.  A person can add, delete, or rearrange the tracks on a playlist as needed.  In addition, playlists can be as long or short as needed.  for example, my home stereo has a jukebox feature so anyone with the corresponding app on their phone can add their own music to a temporary queue.  It is like selecting a song in a diner's jukebox only you are not limited to what is in the machine.  This is a great way for students to share music from their devices in a classroom setting.


Students today use the internet to get information instead of using reference materials like encyclopedias (Bazan, 2016).  While this may seem like anecdotal information, this fundamental change also affects how students acquire and listen to music today.  One thing I noticed from my technology use inquiry project was how quickly students move from one technology to another.  Bauer (2014) described several technologies for acquiring music, including CD's, DVD's, music downloads, and streaming services.  However, most of the students I interviewed do not use physical media like CD's anymore, and even music downloads are in decline because streaming services like Spotify and sites like YouTube and Vimeo are such a convenient option.  Owning music is not as important when one has on-demand access to their favorite music.

One thing that records and encyclopedias represented was control of information.  Publishers curated, organized, and published information and music distributed using these traditional methods.  The high price of some records and encyclopedias made them status symbols for those who could afford them.  Internet access has made information and music easily available for little or no cost, unlike traditional media.

However, I have noticed that some of my students try to engage in other activities when we listen to music examples.  Whenever I use recordings, I have to remind students to pay attention and focus on the listening example.  I did not have as many issues with this until the past few years.  It seems that today "sitting and attending to music exclusively to music may be rare for most people (Bauer, 2014).  This week I learned of several ways to use technology to help guide my students' listening experiences.

Digital music makes it convenient for teachers to integrate recordings into class activities (Bauer, 2014).  Bauer also described how teachers can use digital recorders and DAW's to show students visual representations of music events.  In addition to using listening maps and charts, students and teachers can use infographics to describe musical events.  Google forms can also be used to create quizzes that can serve as listening guides for students.  Vizia is a free web-based application that enables teachers to embed questions in YouTube videos to help focus a listener's attention.

Here is some information on using infographics:

http://www.p21.org/news-events/p21blog/1971-infographics-a-digital-tool-for-deeper-learning-

http://www.educatorstechnology.com/2016/08/3-powerful-chromebook-apps-for-creating.html

Here is a Link to Vizia:

https://vizia.co/

References 

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

Bazan, D. (2016). Technology assisted music teaching & professional development [Powerpoint slides]. Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641935-dt-content-rid-52157209_1/courses/14924.201660/Week%206/Lecture/index.html

Using Technology in Backward Lesson Design and Project-Based Learning

My first experience with backward lesson design was actually in high school band.  My band director would outline the rehearsal schedule starting the performance day and work backward to the first rehearsal.  He would set monthly, weekly, and daily goals giving us clear direction of what needed to be learned and when.  The instructors in my teacher education program also emphasized backward design in lesson planning.  Bauer (2014) described backward design as "approach in which the teach begins with the end in mind."  Almost every sequential task requires some preconceived idea of the desired outcome so backward design is a kind of natural process.

Bazan (2016) indicated three basic steps in backward design; identifying essential understandings, develop assessments to check for understanding, and then creating lessons that emphasize the essential understandings.  Backward design requires that teachers prioritize what is taught and focus on enduring understandings (Bazan, 2016).

 

The National Core Arts Standards were developed with enduring understanding and provide established curricular priorities that unify all arts education (NCCAS, 2014). 

If backward design is such a natural occurring process, why does it still need to be discussed in educational forums?  Some reasons may be that classroom materials like method books and literature drive instruction in many classes, teachers have established routines and have taught the same way for years, and backward design takes time (Bazan, 2016).  I think well-designed method books are created with backward design in mind; however, somebody else designed them and they may not align with one's particular needs.  Doing your own backward design gives you ownership of the material that is taught and allows for more differentiated instruction.

Established instructional routines and the time involved in backward design create some resistance to change for many teachers.   Technology is one way to promote changes in lesson planning.  Integrating technology does not necessarily mean that we need to change proven methods, but instead technology can be used to improve what is already occurring in the classroom.  There are many software applications that can help with backward design and make modifying lesson plans relatively easy.  I used to keep a binder of lesson plans and used a planning calendar to track progress, but now all my planning is accessible by a computer, which makes modifying lesson plans faster, freeing up time to focus on aligning my existing coursework with the essential understandings.

Another concept from this week that has been around for a long time is project-based learning (PBL).  I remember doing projects as far back as elementary school.  Technology has created new opportunities to engage in real-world learning activities such as WebQuests (Bauer, 2014).  Since performing ensemble classes are activity centered environments, it seems that PBL is integrated into the normal class activities.  Personally, I am reluctant to add projects to an already busy schedule simply for the sake of doing things differently.  However, backward design and essential understanding provide a pathway for integrating enrichment PBL into the existing curriculum.  Rather than trying to think of new projects, which would be a lesson driven approach, the key is finding a topic that I normally teach using direct instruction and use PBL to assist the students in "constructing their own knowledge" (Bauer, 2014).

A WebQuest is based on constructivist principles, utilizes inquiry and critical thinking as the basis for instruction, and does not have to be technology based (Zunal, 2001).  However, using available resources, including technology, is a part of backward design (Bauer, 2014).  Bauer stresses that PBL activities should also emphasize communication, collaboration and be "grounded in the real world" (p. 164).  Using teacher-curated internet resources, students can explore and discover aspects of music in a manner that is "creative, innovative, [and] experiential" (Bazan, 2016, p. 10).  As a teacher, I encourage my students to listen to and watch exemplary models of performance.  I could use a WebQuest to guide my students to sources and encourage then to listen critically to style and nuance.

References 

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

Bazan, D. (2016). Technology assisted music teaching & professional development [Powerpoint slides]. Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641934-dt-content-rid-52157118_1/courses/14924.201660/Week%205/Lecture/index.html

NCCAS. (2014). Home | National Core Arts Standards. Retrieved August 3, 2016, from http://nationalartsstandards.org/

Zunal. (2001). Welcome to Zunal.Com. Retrieved from http://zunal.com/xhelp.php

Chromatik and SmartMusic

Chromatik and Smartmusic are commercial internet-based programs that offer similar functionalities but target different types of consumers.  Chromatik is designed for people with some music backgrounds that want to learn to play popular songs on an instrument or voice.  SmartMusic is a comprehensive music education suite designed as a practice and assessment aid for music students.  Both programs can be good practice motivators but  would need to be implemented differently.

Chromatic

Starting with the home screen, one can immediately see that Chromatik is aimed at the popular music consumer.  The service uses a subscription model for payment but offers a free tier with a three piece limit per day.  Three pieces would allow for some light browsing before committing to a solo, but note that if you leave a piece, you would have to use on of your three selections to return to that piece.  This can be problematic for less experienced musicians because there are no practical indicators of difficulty other than a thumbnail preview.

 

It does have a favorite button so you can quickly find a piece you want to return to at a later time.  

The desktop version is good for finding pieces, practicing along with a Youtube video, recording, and sharing your performance.  However, the recording feature is limited to the Chrome browser.  The iPad version also has a built-in metronome and allows you to mark up your music.  The iPad version also allows you to upload your own sheet music using the iSight camera.  This sounds like a good feature but accessing your file requires on of your free selections if you are on the free tier.  

Generally, the program is intuitive and easy to use.  The interface is simple and does not offer a lot of options.  One the desktop you simply select a style, then a song, choose the desired instrument and practice along with the recording.  When you are ready you can record your performance and post it to Chromatik's sharing service.  The iPad version is also easy to use.  I did have some trouble dining the music upload feature, and while easy to use, it was not as intuitive as other aspects of the program.  

This program would be useful for students who are already proficient on their instrument, as the program does not offer to much of a sequential learning experience.  I could seem myself using it a practice aide to add variety to the students' practice routines,a fun activity to work on right after a concert, or something constructive the day before a vacation starts.  Chromatik has shut down the education version of the program so its classroom uses are limited when compared to programs like SmartMusic.

 

https://chromatik.zendesk.com/hc/en-us/articles/204735875-What-happened-to-Chromatik-for-Schools-Groups-

I do have some concerns about this program.  Everything in the program works well but seems just short of being great.  For example, playing along with the videos is fun but you cannot slow them down for work on problem areas.  One major concern is that the company removed features like the education bundle.  Another concern is that the content is not curated for school appropriateness, as the app is rated 12+ (Apple, 2016).  I am also hesitant to commit to a subscription tier simply to remove ads and unlimited plays.

SmartMusic

 

SmartMusic is a comprehensive music education suite that is intended for the education environment.  Its focus is to provide engaging and focused materials to aid students in daily practice.  Some of the features can be used as a class if you have a projection screen.  In many ways, SmartMusic is the ultimate solution for providing a technology-based music learning environment. SmartMusic is an interactive suite of practice and assessment tools that aims to "dramatically improve students’ skills by transforming the way they practice and learn" (SmartMusic, n.d.).  SmartMusic is available as a download also uses a subscription model for billing.  There is no free tier for this software but there are trial versions available.

Unlike Chromatik, SmartMusic goes beyond playing along with recorded tracks.  SmartMusic supports many of the materials already in use in music classrooms such as method books and ensemble literature.  SmartMusic also has a collection of solo material in every level of music development.   When I used smart music, I found the sight-reading exercises to be particularly useful and well designed.  

There are three basic components to the SmartMusic software.  They are guided practice, assessment & documentation, and a repertoire library.  Teachers can also upload their own lesson content using any notation program, but the program is designed to integrate with Finale as they are part of the same company.  I use Sibelius and I could import my materials but they did not integrate into SmartMusic to the extent that Finale does.

A program as feature-rich as Smart music usually has some learning curve and this is no exception. A major benefit of using commercial software is customer support (Bazan, n.d.).  Customer support is an area where SmartMusic excels.  The SmartMusic website is full of resources and how-to's to help navigate through the interfaces.

Additionally, the interface is consistent throughout making features easy to use and navigate.

The classroom implications for SmartMusic are quite vast.  It is truly an all in one solution for practice and assessments.  This program makes it possible to give students one-on-one attention that they may not get in a large program.  It is also a great component of accountability and grade justification.  The program automates so much of the practice and assessment process that it could relegate a teacher to simply managing the software.  Bazan (n.d.) warns that it is important that teachers do not let the technology do all the work.  

This program is excellent for use in secondary school performance class and my be accessible for middle school students with a lot of structure and sequencing by the teacher.  Managing such a program could also get overwhelming to some teachers and students.  I would suggest that a teacher new to the software limit its implementation at first, and then add tasks as the teacher and students' comfort levels improve.  Students tend to be naturally curious and will usually work beyond the class parameters, but they could get discouraged if given too much to do early in the process. 

References

Apple, Inc. (n.d.). Chromatik on the App Store. Retrieved July 29, 2016, from https://itunes.apple.com/us/app/chromatik/id664934663?mt=8
Bazan, D. (n.d.) Technology assisted music teaching & professional development [Powerpoint slides] Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641931-dt-content-rid-52156352_1/courses/14924.201660/Week%201/Lecture/index.html

Chromatik, Inc. (n.d.). Chromatik - Explore free sheet music Collections and play more music. Retrieved July 29, 2016, from https://www.chromatik.com/

Week 4 - Instructional Media in Performance Ensembles

Bauer's (2014) description of Michael's typical day using technology-based instruction seemed like a hyperbole at first.  However, I soon realized that I already have access to a lot of the technology mentioned in the story.  The story illustrates how there are many opportunities to integrate technology into performance classes.   As a high school instrumental music teacher, I have to admit that I have been slow to implement technology-based instruction in my performance ensemble classes.  While I do integrate some technology into my classroom instruction, I need to do more to get students directly involved with using technology.

Bauer (2014) categorized instructional technology into tutorials, practice, creativity, and games.  This week's materials focused on using resources for audio recordings, accompaniments, practice assistance, and assessments (Bazan, n.d.).  An example of recording software is Audacity.  Accompaniment software includes Band-in-a-Box, Chromatik, Smartmusic, and Songster.  Chromatik and SmartMusic also offer all-in-one solutions that include an assessment component.  With all of the technology that is available, it is still important for the teacher to drive instruction, not rely on technology as the only form of instruction and assessment (Bazan, n.d.).

Technology for tutorials can take many forms.  Bauer (2014) describes tutorial software as sequential and reflecting on established learning theories.  Internet resources like websites, podcasts, and Learning Managment Systems offer on many subjects including music.  Modeling is often used by teachers to demonstrate concepts and skills and also helps with psychomotor learning (Bauer, 2014).  Video and music streaming sites as wells as digital recordings can provide models for helping students develop musicianship skills.  I have used recordings and videos in the past but only after the students know the music so they have a point of comparison.  Music theory and ear training programs are often tutorial-based and sequential in approach.  These can be used to teach notation and develop audiation skills.  However, some music theory and ear training software should be classified in the game category instead of the tutorial category.

Practice technology has been around for a long time.  I have been using tuners and metronomes since I started playing wind instruments.  Although the technology has made those devices less expensive, the fundamental concept still has not changed.  I prefer it to tuners that only Bauer (2014) indicated that tuners and metronomes have become more available for student use.  Personally, I prefer the analog strobe tuner because it can be used to demonstrate tone quality as well as pitch center.  Peterson makes an app version of their strobe tuner for iOS and Android, and while I prefer the analog version, the digital version is more portable than the analog version and more useful than a tuner that only uses a pointer.

https://www.petersontuners.com/products/istrobosoft/



In addition to the tuner, I like to use a drone to help my students use their ears to find tonal centers.  This can be accomplished with a keyboard and a sequencer but use a low-tech approach called The Tuning CD (A=440).  It is simply a CD that has a collection of drones in every pitch plus intervals rotted in C, C#, and D.  It is also available as a download on iTunes download and streams free with Amazon Prime.

https://www.amazon.com/Tuning-C-D-440-Richard-Schwartz/dp/B002COP51Q
https://itunes.apple.com/us/album/the-tuning-c.d.-a-440/id319589901

Metronomes and tuners are effective individual and ensemble practice tools because they offer immediate feedback.  However, practicing with a computer-generated accompaniment may create a more contextual learning experience (Bauer, 2014).  Audacity is a free and simple way to make and edit recordings.  This program can be used for recording auditions, playing tests, to monitor progress from one practice to another.  Programs like Band-in-a-Box, SmartMusic, and Chromatik have accompaniment tracks to provide more contextualized practice experience.  Bauer noted that programs like SmartMusic offer additional assessment features as well.  I have some experience with Audacity and SmartMusic and I found them to be very effective; however, I have used them extensive in my classes.

One section that caught my attention was "new performance possibilities" (Bauer, 2014, pp. 91-93).  During my undergraduate days, my university had a performing group named the Diverse Instrument Ensemble (DIE), which we referred to as the "Scratch Orchestra."  The instrumentation was open to anyone who played an instrument regardless of what it was.  It was a popular group at the time and I remember many great performances by that ensemble.  The groups Bauer describes that use cell phone and iPads as instruments remind me of such experimental groups.  I found this video of an iPad ensemble.  I find it reminiscent of the progressive rock bands of the early 1980's.

https://youtu.be/wYoEAjt27yc

References

[Tedx Talks]. (2014, January 11). The iPad as a musical instrument: Touch (the USF faculty iPad band) at TEDxTampaBay [Video file]. Retrieved from https://www.youtube.com/watch?v=wYoEAjt27yc

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

Bazan, D. (n.d.). Technology assisted music teaching & professional development [Powerpoint slides]. Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641931-dt-content-rid-52156352_1/courses/14924.201660/Week%201/Lecture/index.htmlhttps://learn.kent.edu/bbcswebdav/pid-5641933-dt-content-rid-52157039_1/courses/14924.201660/Week%204/Lecture/index.html

Composing with Soundation

I found my experience with Soundation to be very enjoyable.  I found myself mostly using the loops and prerecorded samples for the class assignment, but I found the software to be quite versatile.  Once I got the MIDI controller to work I found the program to be almost as good as Garageband, but Garageband is just a little more intuitive.  Since this is a web-based application, it has some advantages like being cross-platform.  In my school, Soundation and Noteflight are perfect for the one-to-one Chromebook program that was started last year.

While the tendency is to create "dance" tracks with this software, loops and beats are only one element.  This software is also be used to record and produce live recordings with a lower cost and learning curve than software like Logic or ProTools.  I found a lot of effects and options that could be used to make professional sounding recordings.   The program also has paid tiers for added functionality and offers expansion software for added versatility for an extra cost.  However, the free version offers enough features for the average user.


https://soundation.com/user/rgarcia77196/track/the-chase

Week 3 - Composition and Digital Audio Workstations

"Some people believe composition is one of the highest forms of musical expression" (Bauer. 2014, 68).  This statement instantly caught my attention because composition has been the most neglected element of my musical development.  I have always enjoyed performing and consuming music but have never thought of myself as creative in any way.  I found that I was already very knowledgeable about the technical aspects of this week's materials, yet I also realized how much experience I lack in using my technical skills to develop my creativity and encourage creativity in my students. 

Bauer (2014) indicated that studying music composition provides many benefits for music students, including growth through "artistic and meaningful engagement with sounds" (p. 59).  He provided several guidelines for implementing composition instruction.  Students need more structured lessons early in the composition process; getting more freedom as they move through the process.  The goes on to state that teachers should provide support and guidance as is appropriate for the students' level musical development.  Bauer also comments that critique and revision are an integral part of the creative process.  Feedback is valuable in all learning, and students should be active participants in the critique-revision process (Bauer, 2014).  Teachers should provide feedback frequently and in small doses as students progress from the formative to the expert stage of learning independence. 

Technology can be a valuable tool for teaching composition.  Bauer (2014) classified composition software into notation based and non-notation based software.  One advantage of using technology for music composition is that students get instant feedback, and students can listen to their composition as they are creating it (Bauer, 2014)  Notation based software offers many learning opportunities, but music can also be composed using graphically oriented software with digital audio workstations (DAW's).  In addition, technology offers more opportunities for performance and collaboration.  Digital music files can be shared in online communities using internet sharing forums.  Students can also engage in creating arrangements, remixes, and  mashups as a way to get involved in the creative process (Bauer, 2014). 

Bazan (n.d.) referred to DAW's as an engineers solution to recording music, because of their efficiency compared with analog methods of recording.  Using graphically oriented software like Garageband or Soundation allows students to "think in sound" (Bauer, 2014, p. 63).  Some might question the validity and artistic merit of compositions created in this manner.  However, I feel the way the tool is used is what is important in this regard.   Care must be taken so that the technology does not dictate the creative process. 

One drawback of notation software indicated by Bauer (2014) was that it did not encourage sketching of musical ideas.  I found that DAW's work well in this capacity.  A composer can use loops and prerecorded samples to "sketch" ideas of formal structure, timbre, and texture before moving to notation software to create the actual composition.  For example, when working on our marching band half-time show, we sometimes sketch out ideas on Garageband.  Loops make excellent placeholders until we decide on the actual music for the show.  I can see how software like Soundation can be used to engage students in the composition process even if what they produce may not be of artistic merit.  In my own training, my first solo and ensemble festival performance may not have been worthy of Carnegie Hall, but the experience started me on my musical journey.

Digital Audio

 
Digital audio captures the frequency and amplitude of sound in the form of binary data.  This data is measured in terms of sample rate and bit rate.  Sample rate refers to the number of time data is sampled per second, while bit rate is the amount of bits or data points per second.  An advantage of digital recordings over analog recordings is that digital recordings do not degrade over time. 

Audio files are stored in formats called codecs.   Codecs that contain all of the data from the original recording are called lossless.  WAV files are the most popular types of lossless audio files (Bazan, n.d.).  There are other lossless codecs that are gaining popularity.  Two additional lossless codecs that I am familiar with are Free Lossless Audio Codec (FLAC) and Apple Lossless.  FLAC music files are popular among audiophiles who want to enjoy uncompressed audio in their high-end systems.  Apple Lossless is a proprietary lossless format and is the only lossless format that works on iPhones and iPads.  You can learn about these codecs at the following sites:

https://xiph.org/flac/
http://alac.macosforge.org

Codecs that compress data eliminate elements of the recording outside of the normal listening spectrum to reduce the size of the file.  While this is convenient for sending files over the internet and saving hard drive space, some people claim that there is a noticeable difference in sound quality. Faster internet speeds and larger hard drives may reduce the need for compressed audio codecs.  These codecs are often referred to as lossy and include MP3, AAC (Apple), and WMA (Windows).  Ogg Vorbis and Opus are open source alternative lossy codecs but the proprietary codecs are currently the more popular options.  

References

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

Bazan, D. (n.d.) Technology assisted music teaching & professional development [Powerpoint slides]  Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641931-dt-content-rid-52156352_1/courses/14924.201660/Week%201/Lecture/index.html

Noteflight in the Classroom

Noteflight is a free web-based program that is easy to use, yet robust enough to be useful in many classroom applications.  While it is not a replacement for commercial software like Finale or Sibelius for big tasks, most classroom assignments and demonstrations can be quickly created using Noteflight.  Because it is web-based, students can complete assignments using whichever internet-connected device they have access to.  For example, I started this project on my smartphone, then moved to my tablet, and finished it on my laptop.  The free tier can be used for student composition and theory assignments.  Teachers can use it to embed music examples in presentation software or to quickly write out a part for an immediate need.  One drawback of the free tier is that it does not integrate MIDI input, but this functionality is available in Noteflight Premium for a subscription price.  Noteflight Learn is another paid tier adds individual student accounts, lesson templates, and other features to enhance student learning.  For an additional fee, Noteflight Learn can be integrated into several learning management systems (LMS) like Blackboard and Canvas, as well as other systems.

Week 2 - Music Notation Software and MIDI

Music composition is an often overlooked music standard which lends itself to the integration of technology-based instruction in music curriculum (Bazan, n.d.).  Teaching composition by hand can be a cumbersome task.  However, music notation software can be used to teach students to notate music in a less time consuming manner that offers students more immediate feedback (Bazan, n.d.)  There are commercial music notation applications available for classroom use.  The two major commercial software applications are Finale and Sibelius.  There are also open-source software applications that are viable solutions for teaching composition and notating music.

Bazan (n.d.) outlined several advantages to using notation programs in school settings.  Music notation software overcomes two major disadvantages of writing notation by hand by being less time-consuming and giving students immediate feedback (Bazan, n.d.).   Music notation software is also versital and teachers can use it for many classroom tasks (Bazan, n.d.).  Some considerations when selecting software include ensuring that the software is cross-platform enough to be suited for one's particular teaching environment and that it is affordable.

Finale and Sibelius are currently the two most popular music notation applications available (Bazan, n.d.).  They are cross-platform applications that are available for both Windows and Macintosh platforms.  Both applications offer site licensing, enabling their use in computer labs.  In addition, both applications also offer good customer tech support.

 An advantage of using these commercial applications is that they are industry standards.  The skills students learn using these applications can be applied to college and even professional environments.  The versatility of these programs makes them a powerful classroom tool, but it also creates a high learning curve (Bazan, n.d.).  Another drawback to these applications is cost.  Finale and Sibelius can be expensive to purchase (Bazan, n.d.).  However, both companies offer educator, student, and institutional pricing; which can bring down the cost of the software.  In addition, both offer lower cost versions that are less comprehensive but are easier to use as well.

Another notation software option that is more budget friendly using open source solutions.  These are often free and supported by a community of developers and users (Bazan, n.d.).  Some commercial software begins as open source and then becomes commercial as it develops.  Musecore is a free downloadable open source music notation application, and Noteflight is a free web-based notation program that does not require a download.  Both are cross platform and good alternatives to commercial notation software in school settings (Bazan, n.d.).

A major advantage of open source programs is the cost.  Open source programs are usually free which makes them budget friendly for school music programs.  Web-based programs like Noteflight can be used by students on any internet connected device including smart phones and tablets.  Another advantage of open source software is that they have a lower learning curve than the commercial applications.  Teachers can spend more time teaching lesson content and less time teaching technology; however, ease of use also means less versatility, but open source software is improving.  The biggest disadvantage to using open source software is the lack of tech support.  Often open source projects do not have enough people working to offer comprehensive tech support.  However, open source software usually has a community of developers and users that create a forum where one can find answers to many questions.

After selecting and installing the notation software, there are several options for inputing notation.  A mouse or a trackpad can be used to input notation with any program.  A trackpad can be a good option, but using a mouse to navigate a screen and input notation is like trying to draw a picture with a bar of soap.  Whenever I have to inavigate screens or enter quick notation I use an art drawing pad.  It takes a little practice to get used to it but I think its better than a mouse for most tasks.

MIDI-enabled devices are the generally the best way to input information into notation software.  MIDI is a communication protocol between enabled devices that converts binary code signals into audible sound (Bauder, 2014).  A MIDI system consists of controller devices that produce MIDI data and sound modules that translate this data into audible sound.  Keyboard style controllers are the most common but there are also controllers in the shape of wind and string instruments as well as pitch-to MIDI converters that enable acoustic instruments or voice to be used as controllers (Bauer, 2014).  Sequencing and notation programs are used to capture and edit the data produced by MIDI devices.  Despite the complexity of MIDI systems, industry has made an effort to ensure the compatibility of different brands of devices (Bauer, 2014). 

References

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

Bazan, D. (n.d.) Technology assisted music teaching & professional development [Powerpoint slides]  Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641931-dt-content-rid-52156352_1/courses/14924.201660/Week%201/Lecture/index.html

Week 1 - Technology in Music Classes and PLNs

I found Bauer's (2014) comparison of his fascination with magic and technology to be close to my experiences with technology as a digital native.  I often refer to the IT professionals in my school district as the wizards and alchemists of our generation.  This is not because of the miracles they seem to perform but rather because of the secrecy and mystery with which many conduct their jobs; sometimes making even the most trivial tasks seem complex.  My students also approach technology in a way that gives it magical qualities.  Unlike my early experiences with technology, for my students, technology simply works. I think that gives them a different perspective on the use of technology and allows them to move freely between platforms and applications while they look for solutions that fit their needs.

 Both Bauer (2014) and Bazan (n.d.) described how technology has become an important part of modern society.  Bazan emphasized that technology is a tool that can be used to improve education and empower students.  Teachers in a technology-based learning environment serve as facilitators that direct the experience and create environments that encourage student to learn rather than be taught.  Bazan recognized three methods of incorporating technology in the classroom.  He refers to the first method as the engineers' approach.  In this situation technology is used to solve a problem that would be difficult to approach without the use of technology.  The second method is the "better way" approach which uses technology to either improve an existing learning environment or make it more efficient.  The third approach is the "it's there" approach and in this case technology is used to either enhance or replace existing curriculum.  While some approaches may be preferred over others, whichever method gets a classroom moving towards a technology-based learning environment (TBMI) is probably the best approach.

Effective integration of technology into music instruction occurs when teachers bring technological knowledge, content knowledge, and pedagogical knowledge together to create an environment that promotes student learning (Bauer, 2014).  Bauer indicated that despite the many examples of technology integration into school curriculums and the impact of technology on music in general, many music educators have not integrated technology into their curriculums in an extensive or meaningful way.  Extensive and ongoing professional development is necessary in order to develop the technological, pedagogical, and content knowledge (TPACK) that is necessary to implement a TBMI and "to remain current and continue to develop as educators" (Bauer, 2014, p. 17).

Bauer (2010) describes a professional learning environment (PLN) that encourages music educators to take charge of their own professional development.  A major advantage of this form of professional development is that it is customized to the specific needs of the individual educator (Bauer, 2010).  He suggests that using the Web 2.0 tools and resources to provide a free and customized professional development program.  Using online aggregation and sharing services one can create a professional learning environment that is dynamic and relevant to one's profession and interests.  Because the internet is always changing, it is important to monitor sources as information feeds can change from time to time. In addition music educators can explore other interests and see how music relates to society as a whole.  Another major component of a PLN is the collaborative learning environment.  As one consumes information created by others, it is important to contribute to the overall body of knowledge.

The low levels of technology integration in music classrooms indicated by Bauer (2014) would demonstrate that there are many barriers to entry for implementing this type of instruction.  Most of these barriers could be placed in one of two categories; access and ideology.   While issues of access may or may not be within the control of the individual classroom teacher, issues of ideology are almost strictly within their control.  In order to successfully implement TBMI, it is important to understand one's ideology towards technology and become "open to new ideas and ways of doing things" (Bauer, 2014, p. 17).

Understanding one's ideology on TBMI requires an assessment of one's comfort level with technology.  Bauer (2014) used the analogy of digital natives versus digital immigrants to describe the generational gap between young and adult users of technology.  Bazan (n.d.)  included a third category consisting of analog hold-outs who are resistant to technology implementation and prefer traditional methods of instruction.  Unlike Bauer, Bazan assigns these categories to levels of comfort with technology rather than age groups, without placing value on any of the categories.  However, the analog-holdout category has some negative implications due to the reluctance of people in this category to try new experiences.  As a teacher, I could not ask my students to take risks and try new ideas if I was not willing to do so myself.  However, I must remember that some of my students are still digital immigrants and are not as comfortable as I am when it come to technology.

References

Bauer, W. I. (2010). Your Personal Learning Network: Professional Development on Demand. Music Educators Journal, 97(2), 37-42. doi:10.1177/0027432110386383

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

Bazan, D. (n.d.) Technology assisted music teaching & professional development [Powerpoint slides] Retrieved from https://learn.kent.edu/bbcswebdav/pid-5641931-dt-content-rid-52156352_1/courses/14924.201660/Week%201/Lecture/index.html