Chromatik verses SmartMusic

Chromatik and SmartMusic seem to be fantastic and fun tools to use inside and outside of the classroom. They can be used to enhanced the way students practice and improve upon their skills. However, I have several unanswered questions after my review.

Chromatik is a free web-based platform that allows students to learn, practice, and perform music. It is also a cross platform that allows it to be easily accessible from anywhere. Chromatik has an app available for download through Google Play, the Apple App Store as well in Amazon Apps. This particular feature allows you to have access to your account through a smart phone or tablet.  This resource would be an asset in the classroom; you can access sheet music and videos for different genres with just the click of a button. The music catalog is updated regularly.  There are over 20 different instruments to choose from (see the screenshot below). Overall, the website and application are very easy to use. Once you select a song and choose an instrument. However, learning how to play the sheet music you choose is the only benefit of Chromatik. After some review of the program, I noticed that you don’t get any immediate feedback to improve upon your musicianship. You may record your performance and send it to your teacher where he or she can grade it.  This would be a great to challenge those students who are advanced, but assist others in building tone quality, balance and blend, and success in reading those tough rhythmic patterns. 

On the other hand, I have a very limited scope of SmartMusic. Unlike Chromatik, SmartMusic (software) is not free making it a little difficult to implement within the classroom. I am not really aware of the ease of use and navigation considering, I do not have a subscription. The features it does offer would be the best fit for my classrooms. SmartMusic can enhance your music programs and improve individual student skill. With a subscription, you can assign students material from a method book or piece you may be performing for a concert festival. Using these assignments, the student’s practice times are more focused, and you can track their progress. What I really like about this program is the instantaneous feedback. As you are practice, it allows you to hear your performance and see incorrect and correct pitches and rhythms. The students would have their own personal tutor at home and in the practice rooms.

There is one other feature that I love about SmartMusic is MakeMusic University. All educators need re-certification hours to renew their teaching certificate. MakeMusic provides classes and professional developments specifically for our area that you can use towards those hours. And the great part about it all of this is that it is not very expensive.  I was not aware. This program is the total package, and a must-have for my program. 

Week 4 - Supporting Music Practice and Performance through Technology Use

This week’s video and reading gave examples of how support music practice and performance by using technology. The biggest challenge I face is the implementation of technology into the instructional setting. I faithfully use what is provided by the school district (i.e. laptop, projector, interactive whiteboard); however, I feel it is not enough to engage all students in the learning process. The use of instructional software would support making connections with the content. Instructional software is classified into four categories. The question I pose is as followed: How can each of the four types of Instruction software fulfill the challenge of integrating technology?

Tutorials are a great way to present new concepts in the introductory section of a lesson. Many would ask, why? The answer is clear, there is no prerequisite knowledge required. Since most tutorial follows the sequential, step by step approach, this type of instructional software would benefit classes such as the beginners’ band. YouTube offers tutorials on instrument assembly/disassembly, directions and modeling for proper posture and embouchure, general maintenance, and simple troubleshooting skills to solve minor problems. Tutorial could also contribute to teaching music theory concepts. http://www.musictheory.net is an excellent interactive website to help make connections for our digital natives.

Practice usually required students to have some knowledge base. Through the use of this method, students are confronted with a problem, given time to explore all possible solutions, submit their findings, and await feedback. SmartMusic and iPAS are programs that allow students to experience the above outlined process. These programs emphasis specific goals for each student, provide instantaneous feedback, but most importantly it permits the teacher to keep a record of the student’s progress to chart improvement.

Promoting creativity when using instructional software requires little to no previous knowledge. All knowledge and training are student-centered. They learn various concepts and skills through exploration and experimenting. Soundation is a good resource for students to tap into their creativity and produce musical material by manipulating loops, MIDI instruments, and digital audio clips.

Games can be used to reinforce information and/or teach a new skill of concept. This type of software can be used as a motivational tool to encourage others to learn and set competitive goals. One website that I have used in the past as an informal assessment is http://www.musictechteacher.com. This particular site is designed to be used a teaching aid.  It also has a plethora of games and quizzes to enhance student learning by reinforcing a concept previous taught by the teacher.

All in All, the implementation of instructional software into the classroom will help to create my TPACK curriculum as described in my very first reflection in this course. Not only will it boast my observational scores, but it will gradually shift my classes into a more student-centered environment. Through the use of technology, students can develop their skill and knowledge in creating, performing, and listening to, and understanding music (Bauer, 2014). The technological approach is the key in giving our students the best musical education we can offer, and creating a well-developed TPACK curriculum.

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

Soundation Review

https://soundation.com/user/londab46/track/current-vibe

Soundation Review

                I had quite the experience working with Soundation. Coming into this assignment I was not sure what lied ahead.  My composition reflected my mood at the time of creation. My day had been completely hectic. Everything that could go wrong, did. The only thing I wanted to do was go into quiet corner and just relax. I call it, “Current Vibe”. It portrays some of my musical taste and preferences to bring in the calm after the storm as well as elements the majority of my students like.

                As I completed the assignment, I considered my school’s community and climate. Hopefully this software will be implemented in the unit on composition. My intentions are to share my completed project with my students. I chose various loops to represent the elements in songs I know the majority will identify with. If I can spark the students’ interest with my example, it will allow me to use the creative model process I revised to fit my situation. This will, hopefully, boost morale and motivation to ensure that all students are successful.

                There are two goals that remained in mind while completing this assignment. Goal one: to be able to maneuver through the software and to create a solid example to use as a model.  I wanted to use this opportunity to gain experience and become familiar with the product. When it is time to implement the program into my curriculum, my teaching and model will be effective. Goal two: to create a composition that my students will find aesthetically appealing. If the students can relate and appreciate the composition I created, it may motivate them to try and produce quality music. By using this program, I realize we will also meet two additional goals: 1) a chance to explore the composing and improvisation standard and 2) show evidence that everyone possesses a sense of creativity.

                Soundation helped me experience other realms of creating music. Since the 7^th grade, I only experienced the world of performing music with instruments and vocally. Using Soundation was the first time I have gotten the chance to step into the shoes of music producing. This assignment was overwhelming but it allowed me to explore and put together elements of music that were imperative to music and its creation, my creation.

                There were a few challenges that occurred while working with the software. When adding instrumental tracks, i.e. the drum machine, it seemed as if the software hesitated to play what was created. Much like a compact disc that has been scratched and put in a compact disc player to be played. One other complication that I recall was none of the MIDI files would play, even if you dragged the loop into the audio track. This put limitations on my composition and what it could have been had I been able to hear those MIDI loops. It was difficult and frustrating not being able to utilize everything entitled to you in the free version.

                Soundation specifically offers total control over a person’s own destiny. It allows the student opportunity to explore different elements of music and make connections by using the software.  I have had several students that created songs outside of the school. Many of them don’t have much success because of lack of access of equipment. Access to this software offers students a continuous opportunity to tap into their own creativity and produce original music within specific guidelines inside the school day.

                In my music appreciation class, a possible unit to consider is revamping the unit on the elements of music. As we go through those elements, the students will be able to apply each of those elements to an original composition as they are covered. The students will not only learn and study each element, but, apply them to ensure mastery. What I really love about Soundation is the fact that it is web-based. Everything can be stored online by signing up for a username and password. Learning can be continuous without having any setbacks, for example, “I left my flash drive at home.” I feel the students will love to use Soundation. It is a much more feasible to experience composing in this manner. It gives them free range to create an original piece with countless outcomes. 

Week 3 Reflection

This week's video and reading continues to focus on creativity through creating original compositions. Bauer (2014) explores two types of composition approaches in the text, the standard musical notation and the non-notation composition approach. Both styles "allow children to grow, discover and create himself or herself through artistic and meaningful engagement with sound (Kaschub and Smith, 2009, 2013). This quotation leads me to ponder: If the teachers wants to foster creativity while looking into students composing original music, which approach is the best option?

Musical notation software, such as Finale, MuseScore, and Noteflight, allows composers to notate or write, edit, and playback musical ideas. It also allows the composer to share what has been created with other musicians to perform or with the world via the world wide web. Using notation software also strengthens music literacy and audiation. With all of the benefits that comes along with the notation program; there is one thing I realize is a somewhat of a disadvantage to "the other 80%" (Williams, 2011) of students not involved in the study of music. Using this type of software requires some aspects of music literacy. Students must have some sense of notation format, symbol to sound recognition, and music notation concepts and practices such as instrument range and other technical consideration.

Non-notation programs, such as GarageBand, Soundation, Mixcraft, and Audacity, allows students to sequence sounds. The program offers different types of loops, MIDI and digital audio sounds. These sounds can be selected from a prerecorded library, inputted from MIDI instruments and edited in various ways. The beauty of such a program is the simple fact that it is easy to use by young students or those with no background in music. These programs also allow "the other 80%" who don't read music engage by using their creativity to form original compositions. There are are really no disadvantages to using non-notation programs other than complications or technical difficulties with the equipment.

Comparing and contrasting these two compositional approaches allowed me to weigh my options as to how I would like to teach the improvisation/composing standard and creativity. Getting a chance to finally teach this standard is important to me because I get a chance to make a difference. I get the opportunity to foster critical thinking and give not just those enrolled in music education, but, everyone with a passion for music a way to express themselves musically. There is no right or wrong answer to the question in the introduction. After careful consideration of my school's atmosphere and previous experiences, non-notation programs would be the best option. I'm not always guaranteed proper matriculation within my music classes due to scheduling. It is still very much a dumping ground. No matter the circumstance, students will be using their creativity, finding themselves musically, gaining a deeper understanding of music through engagement (Bauer, 2014) and academic feedback, reaching the highest levels of Bloom's Taxonomy, all the while having fun composing their very own song.

References

Bauer, W. I. (2014). Pedagogical Approaches to Composition. In Music learning today: Digital pedagogy for creating, performing, and responding to music (pp. 59-60). New York, NY: Oxford University Press.

Kaschub, M., & Smith, J. (2009). Minds on music: Composition for creative and critical thinking. Lanham, MD: Rowman & Littlefield Education.

Kaschub, M., & Smith, J. (2013). Composing our future: Preparing music educators to teach composition. New York: Oxford University Press.

Williams, D. B. (2011). The non-traditional student in secondary schools of the United States: Engaging non-participant students in non creative music activities through technology.Journal of Music, Technology and Education,14(1), 24-39.

Noteflight Review

I must say, I was very impressed with the Noteflight application. Initially, as I began to work with the website I became quite frustrated. Even after viewing the tutorials, the process of inputting information was certainly not as easy as using MuseScores. The program also lagged a bit, largely due to of cloud based website design. This issued caused me to backtrack and fix countless mistakes because of the glitching.  However, as I continued to work through the example, the application became much more user friendly. I was also able to apply some of the shortcut methods learned in the MuseScore tutorials. There is a slight learning curve there but it does not take much time to navigate through the site. Noteflight would be a great tool to implement in the music classroom. It could especially come in handy when creating those lesson plans on Improvising and Composing. I would like to explore Noteflight Learn. Here, students can collaborate with other students in their class, share projects through social media, work on independent exercised to strengthen musicianship, and participate in discussion boards;  all while the teacher can assess progress by viewing the students account and offer feedback.  This is definitely a tool I can use in my classroom in the near future.

<iframe width="640" height="298" src="https://www.noteflight.com/embed/8ba19e6c54f3af57048634b3e7cbb89acdd0a31a?scale=1&app=html5"></iframe>

Week Two Reflection - Creative Process

Creativity is the act of turning the imaginable into a reality. It involves breaking traditions and familiar patterns in way that supplies a fresh point of view. However, creativity is still an untapped power that needs to be shared with the world.  I realize that I have not been as transparent as I initially have hoped. I have been denying "the other 80%" the right to benefit from studying music education and the development creativity in all students. I must admit I was one to believe that creativity was rare gift, a superpower, or an anomaly. In my defense, I find it difficult, mostly intimidating, to teach students how to improvise melodies or compose a simple tune. It is definitely something I do not specialize in, nor did I know where to begin. After reading the beginning of chapter three, I realized it is a process I should be teaching all of my students instead of catering to the naturally gifted.

In an attempt to foster creativity for all learners, I completed a bit of extra research on the order of successful creative processes. After reviewing various model, I came to the conclusion on three elements that they all have in common. No matter what area of interest, all creative processes involve the identification of a problem or task, thinking, and a final product. The question at hand after considering the information is: How can I make this information prevalent to all engaged in scholastic work in my community?

I selected three model that best conveyed the concepts to help my students tap into their creativity. The model are The Creative Process by Graham Wallas, Creative Process of Advertising by John Young, and The Process of Creativity by David Gill. Graham Wallas' model is the granddaddy to the others listed. Using these guidelines as examples, I created a process to creativity that I think will benefit my students.

1.  Inception: The beginning of the process. The idea is no longer a figment of the imagination but rather ready to become an idea towards fruition. This is where you understand the task or problem to solve and generate all possible solutions subconsciously, no action is required.
2.  Incubation: The stage where you test your assumptions and gather all materials and data necessary to complete the process. Commit to the process.
3. Illumination: John Young's model says it best, "Eureka, I have found it." This is the moment of epiphany. The ideas to address any situation be comes clear. Work on finding a solution through trail and error.
4. Realization:  Test all of the final products, make corrections, and analyze the results. Choose the best solution.
5. Verification: Reflection: How does the creative product measure to the data in the incubation process? Allow others to assess the final product. If the feedback is not positive, begin again from step 2. 

Although this model is not geared towards my particular content, I want to make it generic enough for student to use in other content areas. This is just the rough draft of a creative process I would like to implement to begin moving student towards the standard we do not get to cover, improvisation and composing. It is the idea that students matriculating through this revised model will become successful by "develop[ing] the knowledge and skill necessary for a creative task" (Bauer, 2014),  and achieve the  highest level of Bloom's revised taxonomy for cognitive complexity (p. 48). If all of these initiatives yield positive results, I will create a generation of well-rounded students and exception members to service and contribute to our society.

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

PLN Reflection Week 1 - Technological Pedagogical and Content Knowledge

After viewing and reading the assignment of the week, my mind tends to drift back to the section written on Technological Pedagogical and Content Knowledge (TPACK). Though this is not the first time I have ran across the Pedagogical and Content Knowledge (PCK) dyad or TPACK triad, however, it is the first time I've read of it in such great detail. The textbook, Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music, described each component and how it relates to the other components individually, in pairs, and as a whole respectfully. My captivation while reading really showed how little I knew of this teaching approach. It was only naturally that I reflected on my own teaching, I thought of all the feedback that I have gathered from observations and wondered had I understood the components of this model fully, How would it affect those observational refinements and optimize student learning?

The School district at which I am employed is one of the few schools in the state of South Carolina evaluated under the TAP system designed by the National Institute for Excellence in Teaching. TAP is a system that grants teachers the opportunities to advance in their careers, gain job-embedded professional growth through fair and rigorous evaluations, and obtain performance compensation. This program is designed for teachers to undergo weekly professional developments by trained master teachers. With the assistance of trained mentor teachers, the master teachers offer resources to support teachers in improving their skills, introduce learning strategies, and increase student achievement. The ultimate goal of the program is to strengthen the skills of teachers to where the classroom is student centered and facilitated.

In the TAP rubric for the observation process, there are three performance standards (PS); Instruction, the learning environment, and designing and planning instruction. Under each of these performance standard is a list of criteria that is evaluated during the classroom observation. (please see the tiny url for a copy of the rubric.) In each of the listed areas under the PS you can score a rating between 1-5; 5 is equivalent to a Exemplary rating, 3 is equivalent to a Proficient rating, and 1 as being a Unsatisfactory rating. Scoring a 3 is recognized as good, solid teaching. Your classroom is a sanctuary of learning with you at the helms. When obtaining the scores of 4's and 5's, the view of your classroom begins to change, The classroom should shift from teacher centered instruction to student centered. The students are encouraged to take more control of their learning process. The role of the teacher shifts from direct instruction to that of a facilitator and organizer that provides resources and support to learners.

After Reading Chapter 1, I was compelled to go back and look at observation scores since beginning on this TAP journey three years ago. My first two years I scored with in the proficient range. It wasn't until recently have I moved into the range of exemplary, however, I'm not consistent with the results. The implication is, if the TPACK model is applied to my teaching style, will it move my PS scores into the range of Exemplary. This is my theory: If I am able to obtain these proficient scores with minimum technology usage, imagine the possibilities with the inclusion of effective uses of technology. I would be able to master the criteria listed for each component under the PS.
(TAP Rubric: http://tinyurl.com/hgs98mf)

Everyone's life had been impacted by technology usage, especially our younger generation. The digital natives have grown up with luxury and appear to not be able to live without it. Why not meet them half of the way, since they "embrace technological innovations and interacting with technology in a seamless manner' (Bauer, 2014). I only makes sense to incorporate effective uses of technology in to music pedagogy and content knowledge.

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