Tech You Will Need for Your Program

2021 ◽  
pp. 27-39
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Teachers ◽  
Music Technology ◽  
Digital Audio ◽  
Music Production ◽  
Creative Music ◽  
Wear And Tear ◽  
Digital Audio Workstation ◽  
Practical Recommendations

This chapter presents an optimal equipment list for establishing a creative music technology lab. While preservice music teachers are taught how to purchase and maintain instruments, they are rarely given equivalent advice for music production tools. This chapter provides practical recommendations for purchasing and maintaining hardware, software, and furniture, including computers, digital audio workstation software, headphones, MIDI controllers, microphones, tables, podiums, display screens, and soundproofing. Suggestions are given for arrangement and design of the overall space as well as design of individual workstations. The chapter also includes suggestions for managing wear and tear on equipment, for maintenance and cleaning routines, and for sustainable budgeting. Finally, for situations where the optimal setup is not immediately attainable, the various items described here are ranked in terms of priority.

Toward a Creative Music Curriculum

2021 ◽  
pp. 3-11
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Project Based Learning ◽  
Philosophy Of Music ◽  
Technology Program ◽  
Music Production ◽  
Creative Music ◽  
School Music ◽  
And Performance ◽  
Support Students

Research has shown the need for new types of music classes that emphasize amateur music production and popular music. The new types of programs contrast with traditional classical and performance-based music programs. Digital audio production offers an unprecedented opportunity to support students in active, culturally authentic music-making. A successful music technology program requires a change from the teacher-led ensemble model to a creative workshop structure. Furthermore, it requires the recognition that current popular styles have their own distinct aesthetics and creative approaches. Project-based learning also requires teachers to develop their own pedagogical creativity. This approach can attract students who do not currently participate in or identify with school music, but who nevertheless consider themselves to be musicians. The constructivist philosophy of music education, using teaching strategies that support students’ agency in their own learning, fosters self-motivation and a critical stance toward popular culture.

Songwriting with digital audio workstations in an online community

2020 ◽  
Vol 4 (2) ◽  
pp. 237-252 ◽  
Author(s):  
Matthew Clauhs
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Online Community ◽  
Music Teachers ◽  
File Sharing ◽  
Digital Audio ◽  
Google Docs ◽  
Music Production ◽  
School Music ◽  
High School Music

Digital audio workstations and online file-sharing technology may be combined to create opportunities for collaborations among many groups, including performing ensembles, music technology classes, professional songwriters and preservice music teachers. This article presents a model for a digitally mediated online collaboration that focuses on popular music songwriting activities in school and higher education settings. Using an example from a high school music production class that collaborated with an undergraduate music education course through Google Docs and a file-sharing platform, the author outlines steps towards facilitating partnerships that focus on creating music in an online community. Such collaborations may help remove barriers between our classrooms and our communities as music teachers leverage technology to develop relationships with creators and performers of popular music everywhere.

Electronic Music School

2021 ◽  
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
New York ◽  
Electronic Music ◽  
Music Technology ◽  
Digital Audio ◽  
State University ◽  
New York University ◽  
Music School ◽  
Technology Program ◽  
College Age ◽  
Digital Audio Workstation

This book is a practical blueprint for teachers who want to begin teaching project-based music technology, production, and songwriting to secondary and college-age students. It aims to inspire teachers to expand beyond the usual ensemble offerings and to create a culture of unique creativity at their schools. The approach primarily draws upon the authors’ experiences developing and implementing the music technology program at Lebanon (Ohio) High School, one of the nation’s largest secondary-level programs, and courses at New York University and Montclair State University. While the lesson templates can be used with any hardware and software setup, the popular digital audio workstation Ableton Live is used for specific examples and screenshots.

Cognitive Processing in Digital Audio Workstation Composing

2021 ◽  
pp. 104837132110344
Author(s):  
Renee Duncan
Keyword(s):  
Cognitive Processing ◽  
Cognitive Processes ◽  
New World ◽  
Music Teachers ◽  
Music Educators ◽  
Digital Learning ◽  
Digital Audio ◽  
Learning Engagement ◽  
Use Of Technology ◽  
Digital Audio Workstation

Music teachers have been thrust into a new world where digital learning is the new normal and use of technology has become more necessity than an added extra. While there are many new resources available, sometimes reexamining those more familiar can help repurpose them for digital learning. This article unearths the cognitive processes that occur when students interact with digital audio workstations (GarageBand and Soundtrap) both in classrooms and through online learning. The contents explicitly identify how cognitive processes might manifest in students’ learning, engagement, and work produced from two such programs: GarageBand and Soundtrap. The intent is to provide music educators with a practical and accessible resource to help guide an electronic composing curriculum.

Designing Creative Music Projects

2021 ◽  
pp. 49-61
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Electronic Music ◽  
Music Teachers ◽  
Project Design ◽  
Music Production ◽  
Creative Music ◽  
Ethnographic Observation

This chapter offers a guide to designing relevant, lasting, and engaging music creation projects for students of all levels of ability, as well as suggestions on how to assess these projects. Project design is approached from the perspective of beginners and their distinct needs. The constructivist philosophy of pedagogy is applied to a process through which students can gain a set of relevant skills in music production that will help them to develop a unique creative voice. The method scaffolds learning so that students are able to attain meaningful creative success at any level of skill and ability. Furthermore, the projects have sufficiently high ceilings that experienced musicians can benefit from them as well. The chapter also describes an iterative methodology that electronic music teachers can apply as students with varying tastes and goals cycle in and out of their programs. This includes a strategy of pop-cultural ethnographic observation.

scholarly journals Music Scoring for Film Using Fruity Loops Studio

2020 ◽  
Vol 188 ◽  
pp. 00004
Author(s):  
Arsya Febrian ◽  
Hestiasari Rante ◽  
Sritrusta Sukaridhoto ◽  
Akhmad Alimudin
Keyword(s):  
Digital Audio ◽  
Visual Form ◽  
Music Production ◽  
The World ◽  
Digital Audio Workstation

Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.

scholarly journals Learning the ‘tracker’ process: A case study into popular music pedagogy

2020 ◽  
Vol 4 (2) ◽  
pp. 211-235 ◽  
Author(s):  
Brendan Anthony ◽  
Paul Thompson ◽  
Tuomas Auvinen
Keyword(s):  
Popular Music ◽  
Digital Audio ◽  
Music Pedagogy ◽  
Online Technologies ◽  
Music Production ◽  
Digital Audio Workstation ◽  
Specialist Knowledge ◽  
And Performance ◽  
Professional Contexts

The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

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