Composition in the Classroom
During Module 3 of Technology
Assisted Music Learning, we discussed the importance of composition and how
technology can assist in its teaching. We discussed the affordances and
constraints of using programs such as, Soundtrap
and Incredibox. We also discussed the
affordances and constraints of non-traditional music classes, in which students
learn about technology rather than only music history and notation.
“Some people believe composition is one of the highest forms
of musical expression” (Bauer, p. 81). This is true, because composition
forces a musician to compile all of his/her musicality to create a new product.
S/he must decide on melodic/harmonic contour, dynamics, articulations, tempo,
key signature, mood, etc. Unfortunately, when most think of music composition,
they immediately think of music notation and using programs such as Finale with
a MIDI keyboard. Although, in today’s world, composition can be taught using
new technology advanced programs such as, Soundtrap
and Incredibox that do not require
the user to understand music notation. Using these programs in the classroom has
many affordances and a few constraints.
To begin with, using programs such as Soundtrap and Incredibox
have the major affordance of not requiring music notation. A user simply drags
and drops their choices onto the workspace. S/he may drag and drop any option in
any location of the workspace and then continue to manipulate their choices
until they reach their desired product. For example, below is a link to my Soundtrap composition entitled, Life. I simply dragged and dropped the
loops I wanted onto the workspace, and then added a few dynamics.
In addition to being user-friendly, I believe programs such
as this would open up the creativity locked inside a student due to peer and
teacher feedback. The students cannot make a wrong choice. For the most part,
all loop options fit together in Soundtrap,
and all lines fit together when using Incredibox.
With this being said, I believe technology programs such as Soundtrap and Incredibox can also inhibit an advanced students’ creativity. For
example, in both programs, all loops are set to a specific length. You cannot
shorten or elongate a phrase. You cannot create your own loop on specific
instruments either, depending on your subscription. Thus, “[Students] may.. be
more reluctant to alter an original idea if it has been placed in notated form”
(Bauer, p. 79). Since altering the set options is not an option, students
cannot use their creativity to its fullest extent. They are forced to be
creativity within the boundaries of the program.
As mentioned earlier, feedback can inhibit a students’
willingness to be creative and try new things. However, this does not mean that
feedback is not important. On the contrary, “Feedback is an important component
of all learning… [it] tells the learner to what extent learning has been
successful, and where strengths and weaknesses exist” (Bauer, p. 75). As
stated, feedback is a necessary evil in order for a student to grow within
their craft. By using programs such as Soundtrap
and Incredibox, students are free to
be creative within certain boundaries. It is then the instructor’s job to
provide accurate feedback on what they did well and how they could improve. In
some instances, improvement could be the student moving onto actual notation.
While in other instances, the students could work on the composition of their
piece, or the musical components used. For example, the student may need to use
fewer loops, or add dynamics to allow loops to fade in and out of their
composition.
With all of this in mind, I would like to discuss the
importance of non-traditional music courses that would use programs such as Soundtrap and Incredibox to their advantage. According to Williams and Dammers
(2015), 80% of students do not participate in music ensembles. Thus, it is
imperative that music educators include these students in music courses that
appeal to them, and the way to do that is through technology. Using programs
such as Soundtrap and Incredibox will appeal to students who
do not play musical instruments or sing regularly. In non-traditional music
courses, teachers can also educate students on sound technology, rather than
musical concepts and notation. By teaching these programs and concepts, music educators
will have created courses that appeal to 100% of the students in the student
population. Not only will the educators increase the size of their music
program, but they will also open doors to new careers in sound technology to
their students. Furthermore, in today’s world, it is imperative that music
educators advocate for their teaching positions, and the best way to do that is
to involve all students in the music programs.
References:
Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.
Williams,
D., & Dammers, R. (Eds.). (n.d.). Music Creativity Through Technology
(www.musicCreativity.org). Retrieved September 13, 2015, from
http://www.musiccreativity.org
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