1. EmbeddingDigitalTechnologiesInTheMusicClassroom: AnApproachfortheNewMusicNationalCurriculum PKirkmanJan20091

2. EmbeddingDigitalTechnologiesintheMusicClassroom:AnApproachfortheNewMusicNationalCurriculum WiththankstotheNationalAssociationofMusicEducators(NAME), JonathanSavageandChrisHiscockfortheirsupport ReleasedunderCreativeCommonsLicense(AttributionNonCommercialShareAlike)2009PhilKirkmanemail:prk24@cam.ac.ukweb:http://www.kirki.co.uk Coverphotobyilco@stock.xchng(SXC.hu)2 3. Contents: 1. INTRODUCTION................................................................................................41.1.DIGITAL TECHNOLOGIES IN MUSIC EDUCATION............................................................. 41.2.A MUSICAL CURRICULUM......................................................................................................... 51.3.DIGITAL TECHNOLOGIES IN SUPPORT OF THE NATIONAL CURRICULUM.............. 7 2. PLANNING A UNIT OF WORK.....................................................................122.1.UNIT CHECKLIST........................................................................................................................ 132.2.A FLEXIBLE CURRICULUM FRAMEWORK:........................................................................ 142.3. EMBEDDING TECHNOLOGIES IN THE CURRICULUM .................................................... 19 2.3.1. Unit of work: A worked example.............................................................................................. 202.4. TEMPLATES:................................................................................................................................. 25 2.4.1. Curriculum map......................................................................................................................... 25 2.4.2. Sequence of learning .................................................................................................................. 26 2.4.3. Lesson plan ................................................................................................................................. 27 3. EXAMPLE RESOURCES:...............................................................................283.1.MOBILE APPLICATIONS ........................................................................................................... 283.2.NETWORKED LIVE PERFORMANCE..................................................................................... 283.3.COLLABORATION ONLINE ...................................................................................................... 283.4.SAMPLES/TEMPLATES .............................................................................................................. 283.5.PODCASTING RESOURCES: ..................................................................................................... 283.6.ORGANISATIONS......................................................................................................................... 293.7.BLOGS AND COMMUNITIES: ................................................................................................... 293.8.MAGAZINES:................................................................................................................................. 29 4. REFERENCES...................................................................................................30 3 4. 1. INTRODUCTION Digitaltechnologiesareincreasinglybeingintegratedintothefabricofhuman society(Joy2000).Aspartofthistrend,theyareincreasinglybeingusedtosupport andrestructureeducationinschools(SheingoldandTucker1990;BarbaraMeans, JohnBlandoetal.1993;Bates1999).Recentresearchalsodemonstratesthatmany digitaltechnologiesarebeingusedtosupporttheimplementationofmusical curricula(BurnardandFinney2007).Theaimoftheunitistodemonstratea workingoutofthekeyconceptsfromtheNationalCurriculum,intorealistic classroomactivitiesthatpromotelearningthroughtheintegrationofDigital Technologies. 1.1. DIGITALTECHNOLOGIESINMUSICEDUCATION Digitaltechnologieshavebeenanotablefeatureofeachsuccessiverevisionof nationalcurriculum(DFES1988;DES1992;DFES2000;QCA2007)andGCSE specifications(DES1985;Edexcel2000;OCR2000;OCR2005;Edexcel2006;QCA 2007;OCR2008).However,suchistherateofchangeanddevelopmentsystemsthat assistintheconception,recording,manipulation,storage,transmissionand consumptionofvastqualitiesofinformation,someofitrelatedtomusic;thatany currentreviewofthesedevelopmentsisimmediatelydestinedtobeobsolete (McLoughlin2002;Spector,Merrilletal.2008).Althoughnowoverfiveyearsold, PittsandKwamis(2002)surveyof18secondaryschoolssuggestedthatthemost widespreaduseofdigitaltechnologieswasduringcomputerbasedcomposingat KeyStage4.PittsandKwamisstudypresentsthecomputerasatoolandsimulator forassistingtheprocessandtestinghypothesis.Thisviewconcurswithawider bodyofresearchwhichrevealsalimitedapplicationoftechnologyinschool classrooms(Mooney,Fewtrelletal.1999;Reese2001;SteffensandJedermann2001; RuthvenandHennessy2002;Ruthven,Hennessyetal.2004;Thomas2008). Ifwearetomakethemostoftheopportunitiesthattechnologyaffordsusthena broaderviewoftechnologyisneeded.Suchaviewwouldattendnotonlytowell establishedmethods,softwareresourcesandhardwaresolutions;butalsotonew anddevelopingtrends.Todefinethescopeofthisexplorationofsomenewand developingtrendsIsuggestadefinitionofdigitaltechnologiesthatisinlinewith thenotionofamusicalcurriculumandconsistentwithcurrentresearchonschool basedcomposition(Webster2007;BurnardandYounker2008;GallandBreeze2008; Ruthmann2008).Digitaltechnologiesthatcanbeusefulinmusiceducationare systemsthat: 4 5. encourageactivelearning,knowledgeconstruction,inquiry,andexplorationonthepartof thestudent,asopposedtobeingexposedtoinformationdeliverysystems(Greaesser, Chipmanetal.2008:211). Beforeturningtohowdigitaltechnologiescanbeusedtohelpprovidestudentswith ameaningfulmusicaleducationwewillreviewwhatthisideaofamusical curriculummightbewithinthecontextofthenewmusicnationalcurriculum. 1.2. AMUSICALCURRICULUM Manywritershavediscussedtheideaofamusicalcurriculum(seeMills,2005; Swanwick1999).However,thekeyaspectsIwishtopickuponarethosethatclearly emanatefromthenewNationalCurriculum.Withinthiscontext,amusical curriculumcanbethoughtofasonethat: a)buildsuponstudentspreviousexperiencesand b)providesnewpractical,integratedandcollaborativeactivities. Thisperspectiveseekstoemphasisetheideathatmusicalexperienceissomething thatallpeoplehave.Amusicalcurriculumengagesallstudentsindoingmusic: makingit,creatingit,respondingtoit(Mills2005p2). Atthesametime,itisclearthatmusicinschoolshouldflowfromthekeyconcepts outlinedinthestatutorycontentofthecurriculumdocumentation.Pupils knowledge,skillsandunderstandinginandofmusicdependsupontheseconcepts oraspectsofmusic:Integrationofpractice,Culturalunderstanding,Critical understanding,CreativityandCommunication. OneusefulwayofthinkingabouttheseconceptsistodrawonChristopherSmalls proposalthatmusicshouldbeviewedasanactandnotathing.Theactof musicking(Small1998)focusesonperforming,nottheperformance,composingand notthecompositionandlistening,notthesound.Hesuggeststhattheterm musickingcouldbeusedtodescribeeverymeaningfulactrelatedtomusic.Ina westernclassicalcontextthiscouldincludeperformers,concertorganisers,the audienceandevenprogramsellers.Thisishelpfulbecausewecanbegintoseethe relationshipsbetweenthemanydifferentaspects(keyconcepts). Whenchildrencomposemeaningfulmusic,theyareinvolvedinadialoguebetween theindividualascomposerandlistener,theemergingwork,theculturethathas producedthecomposerandthesettinginwhichthetransactiontakesplace(Barrett 2003).Figure1.0bringstogethertheserelationships;betweentheindividualas musicianandcomposer,thework,thecultureandthesetting.Interactionsoccur 5 6. bothclockwise,anticlockwise,andalongtheradiiasillustratedbythegradually blendingcolourpalette. IndividualCreativityPersonal engagementA hearing of a performance StimulusCreating Making Freedoms and constraintsRespondingCulture MeaningfulA WorkMusical tastes, music The compositiontraditionsand toolsStructured problem Realised artThe performance Communication Setting A classroom/ the place of Musicking Figure1.0:Meaningfulmusicalactivityinthesecondaryclassroom Thekeyactivitiesofamusicalcurriculumareperforming,composing,listening andcollaborating.Anotherwayofthinkingaboutthemiscreating,makingand respondingindividuallyandasagroup(centralsection).Tomakeapieceofmusicin awaythatintegratescomposingandperformingyoufirsthavetocreateit!Also, whenthismusiciscreatedandmadebothinagrouporasanindividualtherewill undoubtedlybearesponsetoit! Whenmakingmusicitiscommonpracticeforteacherstoprovideinstructionthat canhelptoguidetostudents.Toomanyoptionscanhinderthecreativeprocess. Structuredproblems,suchasapredefinedbrieforcarefullyselectedinstruments,can helpindividualstostartfromtheirexperienceandintroduceconstraintsthatcan guidetheprocessofdecisionmaking(JohnsonLaird1988).Atthesametimenew experiences,sounds,instruments,peopleorotherartworkscanprovidestimulithat keepthingsfreshandexciting.Differentlocal,nationalandinternationalmusical tastes,traditionsandtoolsprovideanunlimitedsupplyofsuchstimuli. Understandingaboutothermusicalsettingsandculturesonlybecomesmeaningful6 7. whenstudentscanlinkthistotheirownidentityandexperiencethroughactive engagement. Togainpersonalunderstandingormeaningfulmusicalunderstanding,students needtobegiventheopportunitytorespondtomusicasrealisedart.Thisrequiresa performanceoftheworkovertimeandwithinacontext(Toynbee2003).Within thissettingtheculturethatprovidesthestimulusandstructurefortheproblemcan thenbecomparedcriticallywiththesettingandrealisationofthefinishedwork.Itis myexperiencethatrespondingtoaworkwithoutfirstprovidingaperformance pointfromwhichtoviewit;willproducejudgementsthatdegenerateinto posturing.Inthisway,contexts(settings)andstyles(cultures)areusedtoinform judgements. Thebalancebetweencreativityandcommunicationisanimportantone.Formusic tobemeaningfultostudents,theyrequirethefreedomtobuildmusicallyuponboth existingunderstandingandnewexperiences.Atthesametime,forrealisationsof musicalworkstobemeaningfultoothers,theymustbalancetheirownexperience withthatoftheiraudience(Cook1990;Toynbee2003).Existingmusicknowledge, skillsandunderstandingcanbeusedinnewsettingsandthroughtheeyesof differenttastes,traditionsandtools.Forexamplestudentscouldusetheir knowledgeofBaila(SriLanka)andtheirrecentworkonShakespearesComedyof ErrorsasstimulusforaclassroomWaadaBaila(contest).However,becautious becauseifthenewcontextremovesallchanceoftranslationfortheaudiencethen themeaningwillbelostonallbutthecomposer. Itisclearthatprovingamusicalcurriculumthatattendstotheindividual experiencesofeachinclassofabout30verydifferentstudentsisnosmalltask.Yet, becauseamusicaleducationhasitsrootsinpracticalactivity,digitaltechnology offersseveralavenuestoexplorethatmayprovefruitfulwhenusedinabusy classroom. 1.3. DIGITALTECHNOLOGIESINSUPPORTOFTHENATIONAL CURRICULUM Recentmusiceducationliteratureontheuseofdigitaltechnologiesrevealsseveral differenttechnologiesthatcanbeusedtosupporttheimplementationofamusical curriculum.Webegintoexaminehowsuchtechnologiescanassistinmusical educationbygroupingthemintothefollowingcategories:Mobilesystems(MOS), Webbasedservices(WBS),Computerbasedtools(CBT)andHardware/user interfaces(UI).Broadlyspeakingthepotentialofthesecategoriesaresummarisedin table1.0. 7 8. Table1.0:Typesofdigitaltechnologiesandtheirdefinitions TechnologytypeDefinition Mobilesystems Allowaccesstodigitaldataandcommunications platformsfromsmalldevicesthatcanbeeasily transportedbetweendifferentlocations. WebbasedservicesHavebroadapplications,whichdrawonthe internetsstorage,communication/presentation, transmissionandsearchcapabilities. Computerbased Providespecificfunctionswithinsoftware toolsenvironmentsdirectedatthecompletionoftasks moreeffectivelyormoreefficiently. Hardwareoruser Provideforindividualsorgroupsmeansof interfaces interactionwiththedigitaltechnologies.Itshouldbe notedthatsomehardwareinterfacesarestill analogue,andthusfitoutsideournotionof computerbasedtechnologies.However,these interfacesareincreasinglybasedarounddigital microprocessors. Inherdiscussionoftheopportunitiespresentedbymobiletechnologies,Baxter (2007)presentsthemobilephoneasaplatformwhichenablesstudentstostoreand transporttheircompositionproductsasmp3sforlisteningoutsidetheclassroom.It isreportedthattheuseofphonesinthiswaycoincidedwithlargenumbersof studentsworkingcollaborativelyinwayssuchas;listeningtoandofferingcritiques ofpeersdevelopingideas,makingcomparisonswithprofessionalworks, internalisingmusicalphrases,rehearsingperformancesandselectingsounds.Baxter notesthatstudentswereabletotakeprideinthemusictheyhadproduced(p.59) andweremotivatedtocreateworkoutsidethecurriculumtimetable.Itisfairto concludethatmobiletechnologiesofferawaytomakelinksbetweenstudents musicalexperiencesinsideandoutoftheclassroom.Baxtersworksuggeststhat mobiletechnologiesprovideopportunitiesforindividualandcollaborativework, permittheintegrationofpracticalactivitiesandfosterstudentmotivationthrough positiveinteractionswiththesubject. Seddons(2007)studyoftheMusitInteractivemusicsequencingpackage,atool basedprogramwhichhasanaddedfeatureenablingtextcommunicationwithinthe package,foundthatparticipantswithnopriorexperienceofmusicsequencingwere abletocomposecollaborativelyviaemail.Theycreatedfinishedcompositions withinsix25minutesessions.Networkedenvironmentssuchasjam2jam(Dillonand 8 9. Brown2007)alsoallowremoteinteraction.However,ratherthanoccurringover longperiodsoftime,interactionsoverjam2jamareinrealtime.Suchan improvisationalapproachrequiresperformerstolistenandcompose simultaneously,respondingimmediatelyandcollectivelytothethecompositional ideastheyimplement.Bothelearningandnetworkedenvironmentspresent opportunitiesforcreativecollaboration,promotepositiveinteractionwithmusic andsupporttheintegrationoflistening,composingandperformanceskills. Severalstudieshaveinvestigatedpotentialbenefitswhichhardwareanduser interfacesoffertothesecondarymusicclassroom(Reese2001;ONeillandSeddon 2003;Reynolds2003;GallandBreeze2005;Field2007;GallandBreeze2007; Kirkman2007).Kirkman(2007)foundthat,whileMIDIcanbeawayofallowing studentsaccesstonewwaysofworking,anoverrelianceuponkeyboardtype interfacesmeansthatthepotentialofferedbydifferenthardwareisnotwidely realised.IftheMIDIcapabilitiesofacomputerbasedsystemareaccessedonly throughamusickeyboard,computerkeypadormouse,thenthisputsnonkeyboard instrumentalistsornoninstrumentalistsatadisadvantage.Recentpublicationsin supportofcomputerbasedtechnologiesinthesecondaryclassroomstill demonstrateaworryinglackofdiversityinthehardwareanduserinterfaces employedinsecondaryclassrooms(Pitts2005;Ashworth2007;Ruthman2008; Savage2008;Thomas2008;Tobias2008).AswellasMIDIdevices,interfacessuchas interactivewhiteboards,computerprojectors,microphones,speakers,effects modules,mixersandturntablesprovideawealthofopportunitiesforcollaborative musicmaking.Hardwareuserinterfacesfacilitategreateraccesstothebenefitsof webbasedtechnologiesandcomputerbasedtoolsbyofferingdifferentmodesof interaction(eg.visual,spatial,gestural,linguistic)andopportunitiesfor collaboration. Afinalgroupoftechnologiesthatoffersupporttomusicalcurriculumpracticeare computerbasedtools.Asmentionedpreviously,computerbasedtoolsarebyfarthe mostwidespreadapplicationofdigitaltechnologiesinsecondarymusiceducation (Reese2001;PittsandKwami2002;Reynolds2005).Folkestadsinfluentialstudyof secondaryagedmusicstudentscomposingusingcomputerbasedtoolswas conductedinaninformalcontextoutsideschool(Folkestad1996;Folkestad, Hargreavesetal.1998).However,theaimoftheresearchwastoinvestigate individualsprocessesofcomputerbasedcomposing.Folkestadetal(1998)conclude thatalltheparticipantssucceededincreatingmusic,irrespectiveoftheirlevelof musicalexperience.ThisnotionissupportedbySeddon&ONeill(2003)whonote that,whileformalinstrumentalmusictrainingmayinfluencetheprocessof composing,all48students(aged1314years)intheirstudywereabletocreate musiceffectively.MorerecentlyGall&Breeze(2005;2007;2008),demonstratethat contrastingcomputerbasedtools(DanceEJay,Cubasis,CubaseVST)provide opportunitiesforcollaboration(2005p.426).Ofparticularimportanceatsecondary 9 10. levelisthewaythatthesecollaborativeopportunitiesdonotprecludetheresulting compositionbeingtheresultofdecisionsmadebyanindividualstudent.Inthisway suchtoolsmayhelptoovercomeanytensionsbetweenthevalueofgroupworkin promotingmusicalworkingandassessmentrequirements. Thetypesoftechnologiesdiscussedabovecanbeintegratedintosystemsthat providegreaterflexibilityandaccess.Astudythatdemonstratestheefficacyofsuch integrationinsecondarycontextsistheSavageandChallis(SavageandChallis 2001;Savage2003)DunwichRevisitedproject.ThestudywasaKS3andGCSE composingprojectthatculminatedinaperformanceatalocalconcerthall.This projectincludedmobilesystems(aMiniDiskplayer),computerbasedtoolsand hardwareuserinterfaces.Digitaltechnologiespresentmanydifferentopportunities toeffectivelysupportacurriculumwhichbuildsonstudentsindividualmusical experiences,fosterscollaborationandprovidesopportunitiesmusicalworking. Table1.1presentsfurtherexamplesofeachtechnologytypefromthecurrent literatureondigitaltechnologiesinmusiceducation.Arecentcollectionofarticles drawntogetherbyBurnardandFinney(2007)presentsapromisingpictureof existingandpotentialusesoftechnologyinthemusicclassroom.Moststriking aboutthisvolumeisthedegreetowhichdigitaltechnologiesarepresentedlessasa toolandmoreofamedium,whichrequiresengagementandinteraction.Itisclear thatmanyopportunitiesexistbutthekeytosuccessistoconsistentlyreview whethertheypromotemeaningfulactivityinyourclassroom. Thechallengesofprovidingaflexibleenvironmentinwhicheverystudentcan engageinameaningfulwayaregreat.However,thefollowingsectionpresentsa suggestionofhowitmaybepossible.Aunitofworkwillbeconstructedfromthe keyconcepts,whichbringstogethertheillustrationofmeaningmakingin composing(Page5)withtheopportunitiesaffordedbydigitaltechnologies(Page15 16). 10 11. Table1.1:Typesofdigitaltechnologiesthatmaysupportmusicalcurricula TechnologyTechnology ToolexampleSource typegroup Mobilemp31players IPOD,CreativeZen,(Roberts2005;Horn2006; Systems Ashworth2007;VardyandKervin2007) MobileMobile Iphone,Nokia,Motorolla,(Roberts2005;Ashworth Systems phones Samsung 2007;Baxter2007) WebBased Eportfolios, NUMU,Teachingmusic,(Manning2007;Ruthman ServicesBlogsandPBWiki,Wordpress2007;Waters2007;wikisAshworth2008;Kirkman2008;Savage2008) WebBased elearning MusitInteractive(Lou,Dedicetal.2003; ServicesplatformsBrickellandHerrington2006;Seddon2007;Rhode2008) WebBased Networking Firstclass,Jam2Jam,Impromptu, (Dillon2003;Cook, ServicesplatformsChucK,Audicle Davidsonetal.2005;Sorensen2005;BrownandDillon2007;Dillon2007;Kirkman2007) ComputerMultimodal Cubase,Logic,Sibelius,Finale, (Folkestad1996;Seddon BasedTools computer Wavelab,CoolEditPro andONeill2003;workstationFolkestadandNilson2005;software Reynolds2005;Kirkman2007;GallandBreeze2008) ComputerDJsoftwareEJay,VirtualDJ(Dillon2004;Galland BasedTools Breeze2008;Green2008) HardwareMIDIdevices Keyboards(MK149)Controllers (Reese2001;ONeilland User(KorgnanoPAD),Mixers Seddon2003;Galland Interfaces(BCF2000)Breeze2007;Kirkman2007) HardwareAnalogue IO2,FA101,Audigy2,MQT(Reynolds2003;Galland UserDigitalaudioBreeze2005;Field2007; InterfacesdevicesKirkman2007) HardwareDJsystems Turntable,Digitalmixer (Challis2007) User Interfaces HardwareExtendeduse NintendoDS+KorgDS10,Wii (Moore2008) Usertheramin Interfaces 1Mp3 Stands for Media Player 3 file. This is a standard digital format for storing musical sound performances.11 12. 2. PLANNING A UNIT OF WORK Withcarefulplanningitispossibletoconstructanadaptableframeworkwithin whichindividuallessonsprovidestudentswiththefreedomtheyneedtobe creative,motivatedandmusical.Suchaframeworkisstructuredtoaddressthe needsofthecurriculumandflexibleenoughtomeeteachstudentsneeds.Theaim oftheunitistodemonstrateaworkingoutofthekeyconceptsintorealistic classroomactivities,whichpromotelearningthroughtheintegrationofdigital technologies.Beforeturningtothiswewilllookbrieflyattheprocessofplanning followedinthiscase. Curriculumplanningcanbethoughtofusingthemetaphorofarcheryfromwhere weborrowmuchofthelanguage.Yourlearnerprioritiesarethemaingoalsthatyou willaimtowards(thinkofthemasanarcherytargetthatyoulineuptohitwith yourbowandarrow).Progresstowardstheseprioritiesisdemonstratedbyachieved outcomesorobjectives(youfireashotmaybeyouhittheoutercircleofthe target).Achievementofyourpriorityisdemonstratedbyafullyachievedtarget (...yougetabullseye!). Smartgoalsarespecificshorttermgoalsthatclearlyidentifywhatwillbedoneor whatwillbeproducedasworkproceedstowardsachievingyourpriorities.You willalsoaimatthesesmartgoals(thinkofthemassmalladjustmentsofyourbow justbeforefiring)andyouknowwhenyouhavedonethem(youpointyourarrow downabit). SMARTGoals:Sspecific:clearlydefinedandunderstandabletoallinvolvedin theactionMmeaningful:Theyarerelevantbothtoindividualsandthe group.Theyinvolvespecificactionswithinaclearstructure.Aachievableaction:Itcanbedonewithinthelimitsoftime, resources,knowledge,skillandunderstandingofparticipantsRrewarding:worktowardsthegoalwillbesatisfyingandonce completed,itwillberecognisedasanachievementTtimesensitive:enoughtimeisavailabletoachievethem(but nottoomuch) For further resources on smart goals see:http://www.projectsmart.co.uk and http://www.goal-setting-guide.com 12 13. 2.1. UNITCHECKLIST Usethefollowinglisttotranslatetheunitframeworkintoyoursetting.Onceyou haveansweredthequestionsyoucanusetheframeworkmaptohighlighttheareas onwhichyourstudentsneedtofocusduringthisunit. PlanningchecklistStartingoff: 1. Whatareyourlearnerslikenow? 2. Whatareyourprioritiesforthisyear? 3. Whatdoyouwantyourlearnerstoachievenext? Surveyingtheland: 4. Whatresourcesdoyouhaveavailable? 5. Whatisthetimescaleforthisunit? Settingup: 6. Whatskillsandstrategiesdoyourlearnersneedtodevelop? 7. Whatdoyourlearnersneedtoknow? 8. Whatdoyourlearnersneedtounderstand? Definingyourtargets: 9. Whatwillyoufocusonduringthisunit? 10. Whatwillyourlearnersbelikewhenyouhavecompletedtheunit? Liningup 11. Whatinstructiondoyouneedtoprovide? 12. Whatlearningactivitiesdotheyneed? Bringingittogether: 13. Howwillyouorganisethecurriculumtoachieveyourpriorities? Safetychecks: 14. Whatskills,knowledgeorunderstandingdoteachersandsupportstaffneedto delivertheunit? Taketheshot 15. ImplementthecurriculumusingSMARTgoals Lineupforasecondshot 16. ReviewprogresstowardyourmainprioritiesandmakeSMARTadjustmentsas needed13 14. 2.2. AFLEXIBLECURRICULUMFRAMEWORK: Theideabehindthisunitisthatthekeyconceptsandnotthecontentareatthe forefrontofthedesign.Itshouldbenotedthatthisisonlyonewayofmappingout theconceptsandskillsintoaunitmap.Thefocusateachphaseintheunitshifts betweenconcepts,processesandskills.However,ithasalreadybeennotedthat thesearenotseparateactivitiesbutdependuponeachother.Thus,theemphasis maybeoncreativitywhileatthesametimestudentsaredevelopingtheircritical understandingandteamworkskillsastheyengageinaperformancefocussed activity.Thephasesareforfocusandclarityonly.Theyarenotmutuallyexclusive. Figure2.0showsaunitframeworkforactivitiesover10aweekperiod.Eachphase isatwoweekblock.Eachphasehasapracticefocusandlessonfocuspointsthatare drawnfromthekeyconcepts.Belowthis,figure3.1illustratesthewaydifferent technologytypescanbeusedtosupportactivitiesthatcanfocusoneachofthe differentkeyconcepts.Detailoneachaspectofthetechnologymapisprovidedin table2.0.Linkstorelevantwebsitesareprovidedintheresourcessection.Youwill noticethatthekeyconceptsaremappedthroughthepracticalactivitiesoflistening, composing,performingandcollaborating.Thisistoreflectthenatureofthemusical curriculumdigitaltechnologiescansupport:keyconcepts1.21.5areembedded withinpracticalmusicalactivity. 14 15. Phase:StimulusIdeas DevelopmentPLTSTransition Practice Focus:PerformComposeListenCollaborateRevise & extend IndependentLESSON FOCUS POINTSStimulus for Evaluate:Evaluate: Groundworkenquiryfor critical creativitycultural critical understanding understanding understanding Structuring for Team work communication ReflectiveGroundworklearners Self-managers for cultural Combine understanding with other Effective art forms participators Creativity: cross Creative thinkersdiscipline work Timeline 2 weeks2 weeks2 weeks2 weeks 2 weeks Key:Key concepts PLTS Figure2.0:Acurriculummapshowingkeyconcepts,practicefocusandPLTS15 16. Key concepts 1.2 Cultural Understanding1.3 Critical Understanding1.4 Creativity 1.5 Communication1.1 Integration of practice ListeningComposing Performing Collaborating12 3 456 7 89 User interfaces 10 Web based services Mobile systems (MOS)Computer-based tools (CBT)(HUI) (WBS) 11 12Figure2.1:DigitalTechnologiesDigital TechnologiesMappedtoKeyConcepts 16 17. Table2.0:KeytoDigitalTechnologiesMappedtoKeyConcepts LinkLinkOpportunityforsupportResources/Examples No. 1 ListeningListeningactivitiescanbetransferredtoRequirescomputerforMobile studentsmobilephones,mp3playersorpen transfersystemsdrivesforhomework 2 ListeningComputerbasedtoolsallowstudentstoi) SeeresourcessectionforComputer listentotheirwork,ii)canprovidetemplates suggestionsbasedtoolsformodelingandiii)canbeusedtoallowstudentstocontrolhowtheylistenduringauralactivities. 3 Composing ComputerbasedtoolsallowstudentstoseeSeetheresourcessectionforComputer theirunfoldingcompositionindifferentsuggestionsbasedtoolsscreens,recordmultipletracksprintorsavetheirworkandworkwithsynchronousvideo. 4 PerformingManymobilephonesincludeapplicationsfor SeetheresourcessectionforMobile soundsynthesis.Someoftheseholdgreat suggestionssystemspotentialasperformancedevices.SeealsoapplicationsfortheNintendoDS 5 Performing AswellasthemostobviouskeyboardKorgNanopad,KorgHardware interfacesdigitalpads,knobs,buttonsand NanoKontrol,VariousUser slidersoffermanywaystointeractwithkeyboarddevices,YamahaInterfaces musicinahandsonway.ManywebforumsTenorioffersupport.Interactivewhiteboardsandcomputerprojectorscanbeusedtoassistclassandgroupperformances. 6 Collaborating Someplatformsallowuserstocollaborate ExamplesincludeJam2JamHardware liveviahardwareinterfaces.ThissettingcanandTamTam.SeealsomrmrUser bethoughtofasalivebandororchestra foriphone.Interfaces situation. 7 Collaborating Collaborationviaemail,fileshareorExampelsincludeFirstclass,WebBasedmessagingservicesprovidesanonrealtime email,WindowsMessenger.Services andmoreconsideredwaytocollaborate.SeealsoJamstudioand Noteflight.Networking environmentssuchasNUMU, Facebook,Ningortwittercan alsobehelpful.Webpages andWikiscanalsobegood sourceofinformation. 8 MobileLinkingmobilesystemstocomputerbased Seebuiltinphonesystems toolscanprovidewaysoflisteningtoand applications&resourcesComputerevenaddingtoyourdevelopingwork.sectionbasedtools17 18. Link LinkOpportunityforsupportResources/Examples No. 9ComputerLinkingtogethercomputerbasedtoolsandBehringerBseries,MAudio basedtools hardwareuserinterfacesallowsstudentstotriggerfinger,AkaiWHIUSB, Hardwareengagewiththemusicasamorehandson RolandFC300,TECH21Foot Useractivity.Differentinterfacesprovide controller,NumarkTotal InterfacesdifferentmodesofinteractionsoavarietyControlDJController.ofinterfaceswouldbepreferable. 10 HardwareSystemssuchasJam2JamandTamTamcan SeeMIDIcontrollers, UserutilizeMIDIcontrollerstogetamorehands collaborationonlineandand Interfacesonfeel.Networkedliveperformance WebBased intheresourcessection Services 11 Computeri)Goodtemplatesandstimulusmateriali)Seeresourcessection basedtools canbedownloadedfrommanywebii/iii)Networkingsitessuchas WebBased forums.ii)UploadingworkinprogressisaNUMU,Ningandschool Servicesgoodwaytoencourageandgenerate websitefeedback.iii)Publishingfinishedworkon iv)Seepodcastingresourceswebforumsasstudenteportfolioscanhelpinresourcessectiontomotivateprovidesresourcesforfutureprojectsandcreatesresourcesforotherstudents.Howaboutaweeklyschoolpodcast! 12 MobileLinkingmobilesystemswithwebbasedTwitter,MobileFotosand systemsWeb servicesallowsaccesstomusicalmaterial Facebookmobileareexamples Based forhomeworkoroutofmusiclessons(tryofapplicationsthatprovide Servicesplayingthroughaphoneyourgroups waysofsendinginformationrecordedperformancepieceoverthewebtoandfromphones.Tryalsoviaapodcasttoaccompanyadrama!) ShoutcastandYoutube. 18 19. 2.3. EMBEDDINGTECHNOLOGIESINTHECURRICULUM Drawingontheplanningmaponpage14,thefollowingunitisanexampleofhow digitaltechnologiescanbeusedatdifferenttimesinaunitofwork.Thecontentin theworkedexampleisleftintentionallybroadtoallowmodificationforthe individualneedsofdifferentcontextsandstudents.Moredetailedsubjectmatter(eg theory,conventions,elements,etc.)willneedtobeconsideredifusedinthe classroom. Tomakethebestuseoftechnologiesitisworthrememberingthat:1. Mobilesystemsaregreatbecausetheyaremobilelikeahomeworklogoraballpointpen, 2. Webbasedsystemsaregreatbecausetheylinkustogether, 3. Computerbasedtoolsaregreatbecausetheyofferlotsofdifferentwaystogetintothemusicatacomparativelylowcost,and 4. Hardwareanduserinterfacesaregreatbecausetheyletusgetourhandsdirtywiththemusicatacomparativelylowcost.Attheclassroomendweshouldbeworkingwithtoolsfitforthetask.Ifwewanta hammer,ofcoursewemustthinkaboutwhatshapeandsizethehandleneedstobe toachievecomfortandgrip,whatweightitneedstoachievethedesiredforceand whatshapetheheadwillneedtobe(claw,ballpein,crosspein,club,mallet).Isa hammermadeofjellyevergoingtobeasgoodasonemadeofmetal?Ifitisquicker andeasiertowriteonpaper,thenusepaper.Ifyouforgetyourpenallthetimeand looseyourhomeworklog,thenuseyourphone(ormaybeyouloosethattoo!).If youwantlotsofdifferentwaystogetintothemusicthenwhyhavearoomfulof identicalsystems?Ifyoucangetintothemusicmoreeasilybyusingatrumpetthen useyourtrumpet.Ifyoucantplaytrumpetandkeyboardatthesametimethen considerrecordingthemseparately.Howaboutchangingthesoundusinga microphoneandguitareffectsunit?Asknotwhatcanwedowithit?,but;what doesitallowustodoreallywell? 19 20. 2.3.1. Unitofwork:aworkedexample Unitofwork:Freedom Aims:Toexplorenotionsofmusic,creativityandfreedomindifferentcontexts Week Practicefocus LessonfocusSuggestedcontent Technology KeyProcessfocus Assessment points opportunities&outcome 12PerformGroundworkTheSpiritual(egDeep 1,2,4or5:Asaclassuse 2.1b,2.2a Formative forcriticalriver,Swinglow) mobilesystem/s, Knowledgeofhowassessmentof understanding BobMarley:Songofhardwareuserinterface/smusicisusedtoperformancesfreedomalbum orcomputerbasedtool/s buildcommunityFilmmusic:Amazingasaccompanimenttoa(egcollectiveGrace(Newtons freedomsong. singing/playing,Amazing lyrics,events)andGrace/Tchaikovskys expressideas GroundworkMorningPrayer)or 6or7:usecollaboration2.1c,3eExperience forculturalBraveheartopportunitiestoworkandsharedifferent understanding TheMusicFreedom withstudentsinanother approachestoFighters culturalcontext.usingmusicforSoulmusic:Womanof promotinghumantheGhettoMarlenarightsShawKnowledgeof different conventions20 21. Week Practicefocus LessonfocusSuggestedcontentTechnology KeyProcessfocus Assessment pointsopportunities&outcome 34ComposeStimulusforBegincomposingwork 7Usehumantrafficking2.1e,3dKnowledge creativityrelatedtofreedom.i) stimulusfromtheweb: ofrelevantstylisticvideo/mp3/website/pictufilmscoreii)spiritualiii)conventions(eg.fusionofdifferentre. Reggaerhythms,culturalstyles(use 3,8,4,59Storeworkstaffnotationifexperiencefromusingmobilesystemsorappropriate,etc.)collaborationlastweek)computerbasedtools Structuringfor Continuecomposing 2Listentoprevious 2.1ddevelopand communicationwork.Focusonhowthe work extendideasmusicisbuilding3recordnewideascommunityor 5collaborateonideasexpressinganidea(week1) CombinewithPresentcompositionasa 5performasdramatic2.3e,2.1bperformSummative otherartforms performanceevent pieceliveusingwithcontrolof assessmentof Hardwareuserinterfaces instrumentspecific culturaland 11,12uploadfromtechniquesandcritical mobilesystemormusicalexpressionunderstanding computerbasedtoolto websiteandpresentas partofaweb presentation/page 21 22. Week Practicefocus LessonfocusSuggestedcontentTechnologyKeyProcessfocus Assessment pointsopportunities &outcome 56Listen Evaluate: Useknowledgeof 1Usingmobiledevices2.2ccommunicate culturaldifferentconventionsto tostorework,evaluate ideasusing understanding evaluatesuccessofindividualworkfor expressiveperformance homework languageand musicalvocabulary 2.1gidentify expressiveuseof elements,devices, tonalitiesand structures22 23. Week Practicefocus LessonfocusSuggestedcontent TechnologyKeyProcessfocus Assessment points opportunities &outcome 78CollaborateIndependent CollaboratebysharingAsrequired:112 2.2dadaptmusicalFormative inquiry individualperformances ideas,refineand reviewseach Teamwork andcompositionsto Homeworkcollaborationimprovetheirown lesson. Selfmanagers creategroupusingmobilesystemswork. Effective presentationsontheandwebbasedservices participators topicoffreedom. Creativity:cross Collaborateacross5,6,7,11,12useusing 2.2dadaptmusical disciplinework subjects: mobilesystemsandwebideas,refineandGeography basedservicesto improvetheirownInterdependence collaborateacrosstime work.(politicalconnectionsandspace 3ftheusefomusicbetweenplaces)technologiestoCitizenshipDemocracycreate,manipulate&JusticeandrefinesoundsICTcommunication&collaborationModernforeignlanguageslinguisticcompetence&creativity 23 24. Week Practicefocus LessonfocusSuggestedcontentTechnologyKeyProcessfocus Assessment pointsopportunities &outcome 910 Revise& Evaluatecritical Comparemusicfrom 7ReviewpeersworkonReviews Summative extend understanding weeks1and2with theweb demonstrating assessmentofcompleted understandingofreviewsindividual/group/crosshowmusiccanhelpdisciplinework.Discusstobuildcommunityconventions,language,elements,devices,structures,differentcontextsandpersonalexperiencesofcollaboration.Successesandpointsforimprovement. Reflective 7Uploadcompositions 3gpropertyrights. learnerstothewebandcreate 3econsiderationofcopyrightfreeresource contextbank CreativeConstructionofpersonal 112asappropriate 3aperformanceSummative thinkerseportfoliofromworkactivitywithinand assessmentofduringfreedomunit.beyondthepersonalclassroom portfolioPersonalextensionprojects:PersonalwebsitesContinuedcollaborationwithstudentsfromweek2Involvementincharitywork24 25. 2.4. TEMPLATES: 2.4.1. Curriculummap PhaseStimulusIdeas Development PLTTransition Practice Focus:LESSON FOCUS POINTS Timeline _ weeks_ weeks _ weeks _ weeks _ weeksKey:Key conceptsPLT 25 26. 2.4.2. Sequenceoflearning Unitofwork: Aims: WeekPractice Lessonfocus Content TechnologyKeyProcess Assessmentfocuspointsopportunities focus&outcome 26 27. 2.4.3. Lessonplan Unitofwork: Aims: WeekPractice Lessonfocus Content TechnologyKeyProcess Assessmentfocuspointsopportunities focus&outcome Lessonaim: Resources: Lessoncontent: Understanding All Some Most KnowledgeAll Some Most Processes/Skills All Some Most Time Activity Extensionwork Homework 27 28. 3. EXAMPLE RESOURCES: 3.1. MOBILEAPPLICATIONS CubaseRChttp://createdigitalmusic.com/tag/ipodtouch/ Bloomhttp://generativemusic.com/ idrumhttp://www.izotope.com/products/audio/idrum/iphone/ IR909http://roventskij.net Theraminatorhttp://www.yonac.com/software/thereminator11/ KorgDS10forNintendoDShttp://www.korgds10synthesizer.com/ 3.2. NETWORKEDLIVEPERFORMANCE Jam2Jamhttp://www.explodingart.com/jam2jam.html TamTamhttp://wiki.laptop.org/go/TamTam Mrmrhttp://poly.share.dj/projects/#mrmr 3.3. COLLABORATIONONLINE Jamstudiohttp://www.jamstudio.com/Studio/index.htm Noteflighthttp://www.noteflight.com/ SibeliusMusichttp://www.sibeliusmusic.com/ 3.4. SAMPLES/TEMPLATES Goldbayhttp://www.goldbaby.co.nz/freestuff.html Mididatabasehttp://www.mididb.com/ TheclassicalMIDIconnectionhttp://www.classicalmidiconnection.com/ Hoofjaw&MIDI.comhttp://www.hoofjaw.com/Default.aspx 3.5. PODCASTINGRESOURCES: Soundediting: Audacityhttp://audacity.sourceforge.net/ Wavepadhttp://www.nch.com.au/wavepad/ 28 29. Publishing: Libcasthttp://www.libcast.com/ Listofsiteshttp://www.libsuccess.org/index.php?title=Podcasting Shoutcasthttp://www.shoutcast.com/ Youtubehttp://www.youtube.com/ Contentmanagementsystems: Wordpresshttp://wordpress.com/ Drupalhttp://drupal.org/ Jawshttp://www.jawsproject.com/ Comparisonsitehttp://www.cmsmatrix.org/ 3.6. ORGANISATIONS http://atmionline.org/Associationfortechnologyinmusicinstruction http://www.isme.orgTheInternationalsocietyformusiceducation http://www.menc.org/TheNationalAssociationforMusicEducation(US) http://www.midi.org/TheMIDIManufacturersAssociation(MMA) http://musicalcreativity.comTheMENCCreativityResearchInterestGroup http://www.name2.org.ukNationalAssociationofMusicEducators(UK) http://www.time.org/TechnologyInstituteforMusicEducators(TI:ME) http://www.futurelab.org.ukFuturelab 3.7. BLOGSANDCOMMUNITIES: http://www.teachingmusic.org.ukCollaborativeteacherblog http://www.numu.org.uk/Communityforyoungpeople http://etobiasblog.musiced.net/ http://jsavage.org.uk/ http://weblog.siba.fi/msalavuo/ http://www.alexruthmann.com/blog/ http://www.kirki.co.uk 3.8. 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