Chromatic and SmartMusic

Two performance resources, Chromatik and SmartMusic

Despite the fact that I am fairly tech-savvy, I was only previously familiar with one of the two services I was tasked with reviewing this week. SmartMusic is a service I have been interested in for a couple of years now, and with which my colleague in the band room has recently taken the plunge. Chromatik was an unknown quantity.

When I began my investigation into Chromatik, I was first faced with an iPhone app that was glitchy (it froze my phone twice before I was able to really use it) and a bit difficult to navigate. After visiting the website on my laptop, I finally was able to figure out what the service really was, which appears to be essentially an online 'realbook'. A subscription service, a free version is offered, but limited to 3 songs per day (or in my case, only 1... another glitch, I assume) with ads that pop up quite frequently and require a longer and longer period of time before you are allowed to close them (referred to as a 'nag screen' in the days of shareware). I was quite frustrated when met with the page below when attempting to get into a second song today to get screenshots for this blog post. Somehow the system thought I had already reached my 3 song quota and there was no way around without paying for a subscription ($3.99 for a week, 9.99 for a month, or $99 for a year.) ("Chromatik - Explore Free Sheet Music Collections and Play More Music", 2016)

Frustrations aside, there is a reasonably impressive amount of music available. I was at first excited that it seemed the service was going to be something like a personal karaoke with real sheet music, but the video/audio tracks embedded in the sheet music pages are links to YouTube videos of full performances. For a vocalist, always singing along with another performer is not the most useful practice method and not one that I would suggest my students try. Also, speaking as a vocal teacher, the selection of vocal music is extremely pop oriented. There was no classical literature that I could find, and the limited Broadway/Disney musical selection provides just a melody line with no accompaniment making the music ill effective for actual performance. All in all, I do not see Chromatik being a service I will refer to again.

SmartMusic on the other hand is a service that I have been itching to try for quite some time. With a fairly heavy presence at the Massachusetts Music Educator's Association All State Conferences every year, it is a hard service to ignore completely. My band colleague began working with an educator and practice room subscription this past year and it has revolutionized her workflow at grading time thanks to eliminating the need for many individual playing and scale tests. Students can now go into the practice room one at a time during regular rehearsal times and complete the assigned work which she can then grade at home. She has also integrated it into her warm-up routine and the students enjoy being able to see the real time feedback for right and wrong notes. 

I was looking forward to having an excuse to give it a try in terms of vocal music, but unfortunately did not receive a response to my request for a free educator trial in time for this assigned post. I look forward to hearing from them soon and diving in to see how I could use the program for my chorus classes. I am curious how long the free educator trial lasts, and if I would be able to try it with my students before spending my precious little budget money on the service. Educator subscriptions are $140/year, practice room subscriptions (which allow you to install the software on a machine in a practice room and have students log in through that terminal) are $99/year, and individual student subscriptions are $40/year ("SmartMusic For Educators- Music Education Software", 2016). I appreciate that students are able to purchase subscriptions on their own, so motivated students are able to use the tools at their own pace in the privacy of their own homes (or wherever they might be with iPad and mobile apps) for an affordable investment.

I hope this is the year I finally get to try SmartMusic with my students after hearing so many wonderful things about it!

References:

Chromatik - Explore Free Sheet Music Collections and Play More Music. (2016). Chromatik.com. Retrieved 31 July 2016, from https://www.chromatik.com/

SmartMusic For Educators- Music Education Software. (2016). SmartMusic. Retrieved 31 July 2016, from http://www.smartmusic.com/products/educators/

But... I hate to practice!

But... I hate to practice!

... And I'm not just quoting my students! Practicing has never been fun for me. Bauer (2014) speaks to the intrinsic and extrinsic motivators for students to practice. Not one to ever be motivated by stickers, or an "Atta girl!" or the lure of a classroom pizza party, my desire to do anything other than practice was far stronger than any extrinsic motivators my teachers could come up with. Bauer says, "When people have a high degree of self-efficacy - the belief that they can be successful and achieve at an activity - they are more likely to be intrinsically motivated" (p. 82). HA! I laugh in the face of your research, Mr, Bauer! I knew that I could do it, and I knew that practice would help make me better and I would still rather stare at a blank wall in a practice room than actually accomplish anything. So when my students tell me that they "just didn't have the time" to practice, I can't blame them! I vividly recall spending endless hours in college (where I was a voice major) in the practice rooms and never once opening my mouth to sing. Still, I knew that practice could improve my skills... I just didn't have any motivation to do it.

Enter technology to save the day once again! While I am apparently completely unmotivatable in the practice department, I am extremely competitive, even against just myself. Give me the ability to chart my progress in a concrete way and I'm golden... give me a way to compete against my friends - even better... and if you can somehow make it a game where I can earn points and compete against my friends - I'm sold! SmartMusic, while I have just begun to scratch the surface of its capabilities, seems to scratch that game-like, musically competitive sight singing itch I have and that I want my students to be able to experience. More on that later this weekend.

Other services, such as Sight Reading Factory, which creates unique sight reading exercises that are customizable to your needs (ability level, voicings, rhythmic components, ranges... etc.) will be excellent to use in the classroom where I am there to guide my students, but don't offer feedback like SmartMusic does, so may not be as useful to my students at home.

One of my favorite apps on my iPad cart is Rhythm Sight Reading Trainer. While it doesn't offer melodic options, the rhythmic options (and complexity) is nearly endless, challenging even the most accomplished of musicians. With instant feedback, practice and testing modes, on-demand generated examples so they never get stale, multiple attempts to hone your skills and prove accuracy over time... it's the real deal. I think that singers especially often disregard the importance of rhythmic accuracy, and this app is a real gem in terms of improving rhythmic reading. My students can work independently with the program which means they can be at whatever level is most appropriate for them at this moment without being embarrassed that they might struggle with something their friends might find easier.

For the typically motivated student, there are a whole host of technology assisted practice methods to make the job easier. From YouTube videos of performances of the works, to MIDI produced Music Minus One tracks. With all the supports available, I am looking forward to the fall for my next big step to be implementing home practice requirements for my choir students. Perhaps with a little technology aided practice (and motivation) my choir kids could go from this:

... to this:

References:

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

Giving up

When Giving Up Gives More

When I started my job 5 years ago I had grand plans for my General Music students. I was going to make them musically literate. They would understand the basics of music theory and composition, they would have a fundamental grasp of music history and how the music they listen to relates to the grander scheme of what came before. They would know basic chord progressions and be able to write their own songs. 

... And then I started, and I tried to assess what they already knew. No, they didn't know chord progressions (they didn't even know what a chord was!), they didn't know basic musical forms, they didn't know a quarter note from an eighth note. I raged against the system and complained to my family and friends "I just don't understand what their last teacher DID with all his time! How do they not know this stuff already?" I spent that year getting by with my 8th graders, focusing on music history (from chant to rock and roll, spirituals, jazz, Broadway) and how the different time periods and genres related to each other and to what they listen to themselves. My 7th graders were my future though, and I hammered music literacy with them. By the end of each term they knew rhythmic values and how they related to each other, they understood how to write music on the staff, they could read, write, and play every major scale on the piano. Next year we could tackle chords and chord progressions... I was ecstatic. The next fall I was so excited to begin working with my now 8th graders, my musically literate students, I couldn't wait to see where we could go this year. We dove in and... they didn't know the difference between a quarter note and an eighth note. Their retention was basically zero. 

Now I understood that it wasn't that the lower school teacher wasn't teaching them this stuff, it was just so irrelevant to their lives that they were incapable of remembering it year to year. I began the task of trying to figure out how to enrich their lives with music in a way that they would remember for longer than the 10 weeks that I had them.

Then the iPad cart was wheeled into my room, and my teaching life changed. I knew step one was to get GarageBand on them. This was going to be my key. In Music Learning Today, William Bauer discusses the two main approaches to teaching composition - through traditional notation, and through graphic representation. While both of these can be assisted with technology, the depth of compositional ability that technology allows an essentially musically illiterate student is truly mind boggling. Just because a student doesn't have the ability to read or write music doesn't mean that they don't have musical ideas in their heads... the same way that it can't be assumed that someone who can not read or write english can't come up with beautiful poetry. The ability to put creative thoughts together is not strictly tied to the ability to read or write them. For my students, reading and writing music was a skill that they used exclusively within the confines of my classroom, and when outside my room that unused knowledge simply slipped away. GarageBand gave them an outlet for their musical creativity and many were excited to go home and download it on to their own devices at home. 

I gave up on trying to hammer music literacy into their heads. That first year, my 8th graders (who I had decided already to let go of, not wanting to waste my precious 10 weeks with them on something I felt they should already know) actually enjoyed my class... while the 7th graders (who I felt I was preparing for greatness in 8th grade) did not, I could see it on their faces as they walked in the room. They did not enjoy the work of learning the theory of music any more than I enjoyed teaching it. The next year, when I let go of the technical knowledge and instead focused on fostering their creativity, I loved my classes... and so did my students. 

By letting go, by giving up, I gave my students much more than I could have ever given them if I had kept hammering away at basic literacy. When students come back from the high school now and tell me how my class was their favorite, how they still use GarageBand at home to write music, that they use it in their class presentations or have started posting their work on YouTube... I know that what I have given them will last far beyond my short 10 weeks with them.

References

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

A Noteflight Review

A

Review

As a Massachusetts music educator, I was already familiar with noteflight - a Boston based company who has had a fairly large presence at our Massachusetts Music Educator's Association All State Conferences for the last several years. Despite my familiarity however this:



... was by far the most complex score I had ever created using the system, having only really used it to demonstrate composing a simple melody line with my classes previously. I was happily surprised at the ease of use once I got into things. After my initial disappointment at not being able to use the MIDI keyboard I had purchased for use in this class unless I paid for a premium membership I quickly learned the keyboard shortcuts making entry using the QWERTY keyboard on my laptop a breeze. Adding different types of texts (lyrics, instrument titles, tempo marking, chord symbols) was intuitive and easy and I especially appreciated the ability to nudge things in any direction I wanted to really customize the look.

When using the software with my students, I love that you can't over or underfill a measure. Since my general music students are not expertly musically literate, they still sometimes struggle putting the proper number of beats in a measure when writing out their compositions. Since noteflight will automatically fill the remaining beats of the measure with rests, and prevents you from adding too many beats, it becomes mistake-proof (making sure stems are going in the right directions and note heads are appropriately sized are also big wins in my classroom). I appreciate the level of confidence my students gain from this and find that they more willingly will write out their compositions in noteflight than they want to tackle writing it out by hand. Especially when dealing with the population of students that feel less skilled with the technical aspects of music, I like to give them tools that make their successes come easily.

In completing this assignment, I am actually excited at the possibilities I see for uses in my classroom! The ease of embedding the score into this blog post makes me think of sharing parts for students to practice with at home. (No more making rehearsal CDs? I don't dare dream!) An expanded composition project for my students is also floating around in my head, especially if I am able to convince my administration of the value of a premium membership for my classroom. I do appreciate that they kept the subscription service relatively affordable.

Noteflight is a powerful notation software, with a serviceable free version (other than the lack of MIDI functionality there were no real problems, not being able to add a "vocal" line was easily worked around by adding a violin line and renaming) that will serve both novice and professional musicians. While power users would clearly rather use something more robust like Finale, for the everyday needs of the typical educator I think noteflight fills the bill nicely.

Creative Thinking

Building a better thinker...

I spoke last week about the need for Music Educators to consider the value-added nature of our teaching. How we must always be on our guard and advocates for our programs. One of the best ways we can ensure our role as a key member of the learning team is by helping our students become 21st century learners. As music educators, we are uniquely positioned to see our students express themselves in ways many of their other teachers (specifically their core academic teachers) may never experience. I have often had discussions with my colleagues where it is abundantly clear that "Johnny" is not the same student in my class as they are in math or social studies. Kids who may not excel anywhere else can find their home in the music room, whether in a performing ensemble or other music classes, and the skills they learn in our rooms can then be applied in other areas of their lives (both academic and not.)

The crux of this transformation is creativity. 

A core member of the 4Cs of 21st century thinking:

The apex of Bloom's Taxonomy:

... and where other disciplines may struggle with incorporating creativity into their lessons, the arts are inherently creative positioning the music classroom as the place where that skill can be learned. Bauer (2014) discusses some of the body of research into developing the creative mind and fostering creativity in our students and while there are as many techniques as there are teachers and learners, the basic formula is to provide students with sufficient opportunity, resources, stimulation, and time.

I am proud of my fostering of creativity especially in my 8th grade general music classes. As a teacher of the particularly squirrely middle school age, I truly believe that this is the age where students will either develop the confidence to believe in their creativity for the rest of their lives, or fall into the trap of thinking that creativity is some magical thing that you're either born with or not (and assume that they fall into the latter.) My general music classes are comprised only of those students who have chosen not to participate in the band or chorus, which means that I often get the kids who believe that they have no musical talent. Convincing them to be musically creative in the midst of the emotional upheaval and social minefield of the middle school years can be a challenge, a challenge I face bravely by... tricking them into it... and letting them use headphones while they work so no one has to hear their mistakes. I use a strictly PBL (Project Based Learning) model in my classroom and by the end of the term I have tricked them into sequencing music for a movie scene - and they don't even realize the amazing things they are accomplishing. By giving them the skills they need little by little with supporting projects before the big final movie project, they are confident in their abilities to use the software (GarageBand on iPads),  I allow them to select any (school appropriate) movie scene they want which increases their motivation to complete the project, and dedicate 5 or 6 class periods exclusively to allowing them to complete the assignment. It's a major time commitment in my short 10 week term, but the results can be extraordinary. Not only are the compositions they create awesome (an example is below), but those who really dedicate themselves to the project end up with this amazing boost to their confidence that you can actually see... they stand taller, meet your gaze differently.

That kind of change, that kind of transformation, they can bring to other classes and off into their 21st century lives.

Untitled from Amanda Johnson on Vimeo.

References

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

Music Educators - Jacks of all trades... masters of ALL.

There is an old adage, "He's a Jack of all trades, and a master of none." The idea that one can dabble, but can't expect to then be truly effective in any of those areas. The saying goes along with another phrase I have often heard, "I know enough about that to be dangerous." I've used that one a lot, often with my students when they ask me how I know the science behind how sound works, or the physiology behind workings of the human voice, or the historical context behind a composition, or the political issues that lead to the rise of Hitler and the fall of Klezmer music. I find myself imparting a lot of knowledge to my students that is far from technically musical and I truly believe that I make my students better musicians and better students by exposing them to the wide range of musical topics beyond the notes on a page.

Music teachers must be Jacks of all trades, except we must be masters of all. This is never more true than when considering the role of technology in music education. The importance of technology becomes crystal clear just by glancing at the offerings of an All State conference. At the last Massachusetts Music Educator's Association (MMEA) conference easily one third of the sessions had a technological bend - from incorporating SmartMusic into large ensembles, using iPads in General Music classes, assessing through technology, using online tools for composition and collaboration... the list goes on and on. Not only was there a veritable cornucopia of options, but those sessions were some of the best attended at the conference (I should know, I went to more than my fair share of them!) So why are we all so obsessed with technology? Bauer (2014) hits the nail on the head in his discussion of the music teacher's need for TPACK (Technological, Pedagogical, And Content Knowledge) that crossroads of teaching where all aspects of our craft are working together to create the best learning environment for our students. The Venn diagram below also shows how important it is to consider each knowledge area (Technological, Content, and Pedagogical) individually, as well as where they overlap one another (TCK, PCK, TPK).

Hitting the sweet spot! 

So why the requirement to be the Jack of all trades? In a profession where we spend as much time thinking about how to advocate for our programs as we do our actual lessons, music teachers must always be on the cutting edge, always thinking about the value-added nature of our teaching. Most of my general music students will never play an instrument, they will never join a community band, they will never have the need (or desire, really) to know how to be musically literate when it comes to the notes on the page. They will however have access to an iPad, and GarageBand. They will make movies with their friends - for fun, for classes... someday perhaps even for a professional presentation. The ability to know enough about music to use the tools that are at their level to create something that they want to show off to Mom and Dad is something that they can take with them and use in their real lives outside my classroom. Do I wish that they would all go on to be musicians and music teachers and live lives filled with trips to the symphony and their radio permanently tuned to NPR? Sure! But I know that's just not going to happen. Instead I need them to know how to make music a regular part of their lives, I need them to be informed consumers of music, and I need them to be warriors for the arts as they get older so that someday when a Prop 2 1/2 override vote comes up in their town to save the school music program for their kids... they'll make the right decision.

Technology can bring us there... and if we're smart, we will master all of those trades.

References

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