Techpology

Today I will be commenting on this article regarding the use of technology in the music teacher’s classroom. I believe this is a very well-written article with one thesis, one way of practical application, and the author’s support of said application. The bottom line: “The best rule of thumb about technology is that it is only relevant to you if it helps you educate.”

I support this statement for two reasons. One, I have been a student in a music class that applied this. Two, encapsulated in this rule is the idea of good stewardship of one’s resources. Why overspend for that which will not pay for itself many times over?

The music class in which I experienced good use of technology was my solfeggio class with Dr. Browne. He used a textbook, handouts he drew up himself, the piano, the chalkboard, and a computer program (Practica Musica) for homework purposes. The computer program was an “outdated” version with exercises for recognizing intervals, chords, etc. However, the program worked because musical intervals and chords and the like have been established as core solfeggio for centuries. Though Practica Musica wasn’t the latest solfeggio softward, it still got the job done.

Now on to point two. As a future music-educator, I realize that I may not have a good budget to work with wherever I teach. I am also wary of the popular idea of throwing money at an educational problem, in hopes that technology will cause intrinsic motivation to learn for knowledge’s sake. The question posed before me is, “how can I most economically teach and still have an excellent music program?” This article that I’ve been commenting on helps me to realize that old-fashioned efficiency is still possible in the real world of music education.

Before I wreak havoc, allow me to state that I am not knocking technology. That would be obvious hypocrisy, for even a pencil can be termed as technology. If a teacher has the financial means to wisely purchase “the latest”  (or even an updated version) tech to improve upon the existing curriculum, then by all means utilize it.

Tara Sansom has similar thoughts: “Our generation is generally very ‘technological savvy.’ However, most of our parents, or student’s parents, are not at the same ‘technological caliber’ per say. There is an evident technological divide that must be addressed and considered…I agree that introducing technology to a classroom or parent group should be done in moderation and step by step. Start with an e-mail list… Parental involvement is vital to any area of a students education and life. The more teacher-parent interaction, the more involvement and at least understanding of what is going on will take place.”

The key factor for a busy music teacher is whether or not the curriculum is practical, and that applies to financial means, student and teacher understanding, and parental involvement. The test for this idea is to try it in the classroom. As long as students have the mind, will, and talent to learn, knowledge of a discipline is sure to be harvested.

Copyfight

Are ensembles allowed to film themselves and freely distribute the video to those within the ensemble either “for cost” or at “no cost”? (see the site)

A music teacher can benefit greatly from viewing a performance by his/her students. Students also can benefit by critiquing their own presentation, observing good pointers and improvement opportunities. However, three laudable websites give caution regarding copying a filmed performance.

The MENC site states the following: “A single copy of a videotaped performance of your ensemble can be made to keep on file for reference or review. If you want to make multiple copies and distribute them, either with or without charge, you will need permission of the copyright owners for each piece of music performed on the videotape. You will also need permission from parents to have their children videotaped.”

Bands of America has a good article, as well: “School music program directors often offer CDs and even DVDs to students and their families, often to commemorate a school year and, in some instances, to sell them to the community as fund-raisers. These are great ideas, for sure, in that they are great ways to make money for music programs and to create a legacy of the students’ efforts. But, ANYTIME you want to do such projects (other than making one rehearsal tape for analytical or teaching purposes), you must get permission. ” Furthermore, this website notes that will a composition is public domain, the arrangment may not be: “Keep in mind, too, that, even though a piece you want to include on a CD (or DVD) is a public domain work, THAT DOES NOT MEAN THAT THE ARRANGEMENT YOU BOUGHT IS PD; a published arrangement of a public domain composition is still copyrighted by the publisher (to the extent that they have changed/altered the public domain composition) and, therefore, you need to seek permissions for these arrangements.”

The U.S. Government website on copyright says: “Publication of a motion picture publishes all the components embodied in it including the music, the script, and the sounds. Thus, if a motion picture made from a screenplay is published, the screenplay is published to the extent it is contained in the published work.”

Ergo, permission is needed by the publishers of the compositions and also from the parents of the students to copy a performance film. More information can be found at any of the three websites already given.

No classical pianist can fail to study Frederick Chopin. In a word, before Chopin, there was no Chopin. His stylistic genius combines the implorative with the indicative. He cannot be compared to other composers for the piano. He is unique. In the words of Robert Schumann, Chopin’s music can be described as “a cannon buried among flowers.” Here are links to a) public domain sheet music of Chopin, b) the Chopin Society of Warsaw, c) recommended Rubenstein recordings for purchase, d) Chopin’s article in Grove’s Music Dictionary, and e) a page with quotes by Chopin himself.:

Sheet music: http://www.sheetmusicarchive.net/single_listing.cfm?composer_id=4

Chopin Society, Warsaw: http://www.chopin.pl/spis_tresci/index_en.html

Suggested Purchase:  http://www.amazon.com/Arthur-Rubinstein-plays-Chopin-Box/dp/B000002S59

Groves Music Dictionary: http://w3.rz-berlin.mpg.de/cmp/chopin.html

Quotes by Chopin: http://www.ourchopin.com/quotes.html 

Gleanings from Music History, Part 1

Today I learned about Schubert in music history class. What a fascinating man-gifted with melody, almost frivolous with harmony. Key changes left and right. After class I listened to his Sym. No. 5 in B-flat, 1st mvt. The last 30 seconds are pretty much glory.  The orchestra loses all division and is simply a blend of sound. I want to conduct that work someday.

My love of orchestral conducting was provoked Saturday evening when I sang with an orchestra–all I wanted to do was be in the conductor’s position.

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