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.

https://www.soundtrap.com/playlink/e98f9655-edac-47be-a9ac-972c10fe705c/

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

During my undergrad, I had a very difficult time in Aural Theory. I could not hear chord changes easily, and I struggled singing solfege with accurate pitch.  I also shied away from soloing during jazz ensemble. On the other hand, my boyfriend, who is completing his Masters in Jazz Studies and Composition, was much more willing to improvise during jazz ensemble, and he breezed through Aural Theory. He can hear chord changes easily and often analyzes music he hears on a daily basis in public. What caused this different between us?

The only difference I could find is our family music background. While in public school, I do not remember composing often in any manner. I remember singing from a textbook in elementary school, studying basic music theory and history and guitar in middle school, and performing in high school bands. In addition, my family is not very musical. My dad sings in church, and my mom does not sing. Likewise, my sister will sing to the radio occasionally, but she ceased most of her music career after entering college. Although my boyfriend had a similar public school music education, his family is extremely musical. They sing often in and outside of church, and they talk about music as a family. For example, they sang 4-part harmony at his last birthday party.

I firmly believe my boyfriend’s family background filled the gaps his public school music education left. By filling these gaps, he was more eager to solo in jazz ensembles, sing and write music he heard in his head, and have a better ear for aural theory. As a music educator, I believe it is our responsibility to fill these gaps in the first place. We do not depend on family support to ensure students can read and write, so why do we depend on family support for students to be successful in improvising and composing? We should be taking the same amount of time we take to teach rhythms and fingerings to teach improvising and composing.

One reason I believe music educators do not allot that amount of time for improvising and composing is because it is an uncomfortable area for them. For example, most music educators are classically trained. As an instrumentalist or vocalist, most music majors are not expected to improvise on their major instrument. Even all cadenzas and solo sections are written out based on other performers. A second reason for not teaching improvisation and composition is the time alloted for music classes in schools. Educators are so busy preparing the students for a good performance that creative activities are left out of the curriculum.

However, during Module 2, I discovered a few ways to incorporate improvising and composing into daily lessons within the classroom that I would feel comfortable teaching, even as a classically trained musician, within a short amount of time. I derived these ideas from Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music by William Bauer. In the book, Bauer (2014) references’ Kratus’ “seven-level sequential model for the development of improvisational abilities” (p. 65). The seven levels are as follows:

            Level 1: Exploration

            Level 2: Process-Oriented

            Level 3: Product-Oriented

            Level 4: Fluid Improvisation

            Level 5: Structural Improvisation

            Level 6: Stylistic Improvisation

            Level 7: Personal Improvisation

As a public school music educator, I believe we can realistically help our students to reach Level 4. Collegiate professors and personal curiosity would allow students reach Levels 5-6, and Level 7 would be only accomplishable through personal perseverance and practice. However, I believe the 4 levels are only accomplishable through a well-round music education from elementary to high school.

To begin with, Level 1: Exploration, should be explored during elementary school in the very beginning years of a child’s music education. In Level 1, students try “out various sounds, without any particular structure” (Bauer, 2014, p. 65). For example, activities should focus on pitch matching and voice exploration with non-sense syllables. Through the use of instruments, students can improvise the sounds of nature, such as creating rain with xylophones.

In Level 2: Process-Oriented, “Students have some control over the process, coordinating motor skills with intentionally created sound patterns, patterns that are often repeated” (Bauer, 2014, p. 65). I can see this stage being experienced during second grade and onward. For example, students could improvise using given solfege patterns during a call and response activity. Likewise on percussion instruments, students could perform short rhythmic patterns in an order of their choosing. This level also opens up numerous partner and small group activities that would encourage teamwork and performance. In addition, students should be able to begin training their ear at this level. Educators can use technology, such as aural theory apps and games to assess students’ strengths and weaknesses.

During Level 3: Product-Oriented, students become “…more aware of musical structures – tonality, meters, tempo, harmonic changes, and phrases – and begins to utilize these structures in improvisations” (Bauer, 2014, p. 66). This would be introduced during third or fourth grade when students begin learning staff notation and playing recorder. At this age, students should be able to build on their basic understanding of music and their experiences by adding notation. I firmly believe students would be able to compose simple patterns on their own, and rhythmically improvise to an ostinato. In addition, music educators should encourage students to improvise on their recorder as they master notes. This could be accomplished by setting specific parameters, such as stay on one or two notes; students could then improvise over a piano or recorded accompaniment.

Finally, during Level 4: Fluid Improvisation, students exhibit “more control and automaticity over the technical aspects of performance (being able to sing/play without having to consciously think about it) with greater fluidity in keys, meters, and tempos” (Bauer, 2014, p. 66). This level could be experienced as early as middle school and definitely experienced during high school. Even if they are improvising in simple keys, such as Bb, G, and C, students should be able to analyze which notes are playable for specific chords, and then solo based on this knowledge.

Ideally, students should start their improvisation experience in the very early years of music education. As they grow, they will strengthen and build upon their basic skills. I also believe that these levels provide a basic outline for scaffolding. Students must take baby steps to improvisation, by starting with given parameters and examples. As students’ improvisation skills develop, they will naturally develop composition skills by adding notation. I firmly believe you cannot have composition without a firm education in improvisation. Once an education in improvisation is established, students can then explore composition tools, such as Noteflight, MuseScore, or Finale.

As a final thought, as an early elementary music educator, it is easy for me to layout a framework for a long-term improvisation and composition education. However, not all music educators in the upper grades have a supportive or substantial elementary or middle school music program. I believe it is the responsibility of the music educator to assess his/her students and challenge them appropriately. Ideally, students should reach and be exposed to Kratus’ Level 4 of Improvisation, but some teachers may only reach Level 3. The level is not the most important concept. The experience and exposure in a larger amount is what is important, and it is imperative that this experience is positive. Music educators must give their students an improvisation and composition experience that leaves them wanting more, no matter what level they are at when they leave.

Reference:

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

A Bicycle Built for Two - Composed with Noteflight

I wrote this piece using Noteflight, a free web-based notation program. I have used Noteflight numerous times since high school, when I did not have Finale. I was first introduced to Noteflight during my Music Appreciation course in high school. I thought it was the greatest thing since sliced bread. I have used it many times to arrange pieces for small ensembles, transpose musical books, and even design musical examples for papers.

Noteflight has many affordances or benefits. First, it is free. Teachers, students, and professionals can write music without the burden of purchasing programs, such as Finale. Second, it is user-friendly for teachers and students. I feel all writing tools are centrally located, easy to find, and easy to use. When I first used Noteflight, I remember the help section being easy to use and navigate. I had no trouble discovering how to accomplish a goal. A third affordance is your ability to share your work with others and to network. Not only are you able to push your name and work out into the public eye, but, more importantly, you are able to receive feedback on your work. This feedback will lead to improvements in your work and a heightened sense of your personal style. A final affordance I discovered today is Noteflight does not require an internet connection to continue working. If you navigate to the site and open your score, you can continue working even after closing your laptop. You can continue making edits and play back the score without an internet connection. I discovered this by accident during my flight.

As with all free programs, Noteflight does have a few constraints or weaknesses. One of these weaknesses is the inability to access all features, such as access to "voice" play back, without a subscription. As a professional musician, I have found the template layout can be challenging at times, as I could not adjust every minor detail to my liking, such as text. Nevertheless, I find the affordances of using Noteflight far outweigh the constraints.

Overall, I have loved using Noteflight in the past, and I have always accomplished my goals with the program. I would recommend it to any colleague or stranger, if they are looking for an affordable option with networking options.

During my opening meeting for the school year, my principal was discussing our new school wide behavior tool, Dojo, where students will be awarded points for positive behavior, which then will be used for incentives. Dojo is an online program where parents will be notified of their child’s points via email and/or text. My principal stated, “All families have access to technology. Even the lowest economic status families will have at least one cell phone before they have food on their table.” I did not find this statement surprising at all. As technology infiltrates our lives and becomes even more important than food in some cases, there is no doubt that we must integrate it into the classroom. However, we do have tools that allow us to integrate technology in the best possible manners. These tools include the Personal Learning Networks, Technological Pedagogical Content Knowledge, and the technology available in our classrooms.

To begin with, all teachers should have and maintain a Personal Learning Network (PLN). By maintaining a PLN, teachers will network with a variety of people and sources in personal and online. This network will allow the teacher to stay informed of education and technology trends, which will lead to a higher level of instruction. The first step of building a PLN is networking with other professionals. An individual can accomplish this in person, social networking sites, blogs, and video conferencing. I find the most important aspect of a PLN is the dialogue between two or more individuals. I cannot count how many times my PLN has lead me to new ideas that have made me a better teacher. I am now looking forward to expanding my PLN into the realm of internet news. For class, we must use a program called Feedly, which compiles news headings from infinite sources that I select. I have never hesitated to ask questions of my colleagues, however I am not the type to go out in search of new articles or information. Feedly will compile new information for me in one easy place for me to browse and research.

Secondly, when using technology in the classroom, we must look at Technological Pedagogical and Content Knowledge (TPACK). According to William Bauer in Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. TPACK is “the effective integration of technology…[in which] teachers…thoughtfully consider how content, pedagogy, and technology work together in a specific teaching and learning context” (28). Before a teacher can look at TPACK, they must be firm in their Pedagogical and Content Knowledge areas. Once these are established, teachers can improve their TPACK by integrating technology into the classroom. I believe this begins with being open to using technology, such as computers and tablets, in the classroom. Then, it becomes a matter of what should we teach with technology and how should we teach it.

That statement leads into my third and final point on technology in the classroom for this week. What should we teach with technology and how should we teach it? Personally, I believe the possibilities are endless for any learning level. For example, I teach Music PreK-2, thus my learners are much smaller and younger than high school students. However, I still have a place for technology in my classroom. For example, last year, my students and I studied birds from the Eastern Shore. Next, we listened to each birdcall on YouTube, and then we recorded ourselves making birdcalls as a group. My students loved creating the calls with their voices and listening to the recordings. This was a simple, yet effective and fun use of technology. This year, I am looking forward to integrating my SmartBoard, as I have just moved from teaching on the stage to teaching in a real classroom. I believe the SmartBoard will be a great motivator for student interaction, such as moving things around the board, highlighting text, and watching videos. I am also looking forward to creating more partner and small group activities within my classroom. I firmly believe second graders are much more capable than we give them credit for, especially when they are give a set of specific instructions and guidelines. I would like to use technology to allow them to compose and work together on small projects. I may accomplish this goal through the use of Incredibox, where they can compose without the barriers of reading music. I want to use technology for these projects that can then be shared with or performed for the class.

Overall, the possibilities of using technology in the classroom are endless. However, I believe there will always be a need for non-technology teaching, such as using paper, pencil, and manipulatives. It is truly about the balance and what works the most effectively for your students. What will you teach and how will you teach it with technology?

Resources

Bauer, William I. Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. New York: Oxford UP, 2014. Google Play. Web. 30 Aug. 2015.

Hello and welcome to my first blog! My name is Kellie and I teach PreK-2 Music in Fruitland, Maryland. On this blog, I will be discussing concepts I discuss during my graduate course, Technology Assisted Music Learning.

I hope you enjoy!