Module Three Thoughts

For the last few weeks, we have been using different Internet-based apps and programs for music composition.  Last week, we used Noteflight and MuseScore; this week, we used Soundtrap.  Noteflight and MuseScore looked at the more traditional side of music composition with traditional music notation.  This week, we used Soundtrap, which is very similar to GarageBand.  I have used GarageBand previously and have really enjoyed the features that it has.  I was glad to learn that there was a program available that wasn’t specifically geared towards Apple products. 

Personally, I found Soundtrap very easy to use and navigate.  I really enjoyed using Soundtrap and think that my students would really enjoy using this program too.  There are so many features that Soundtrap offers.  While I was working on my project, I was brainstorming the many   music concepts that can be reviewed and/or taught using Soundtrap (form, texture, timbre).  The loops make it easy for Soundtrap to be accessible for any student, regardless of music background and experience.  From there, Soundtrap provides many avenues for scaffolding and building upon prior knowledge to develop more in-depth composition.  What I really like about Soundtrap is that it is cloud-based, so that students can easily share their work and collaborate with others.  As each week passes, I am really enjoying the opportunity to use various applications and programs that I can easily bring into my classroom some day. 

I also found this week’s readings to be very helpful!  The terms that were defined in relation to recording and mixing audio helped with the Soundtrap project.  I don’t consider myself to be the most tech-savvy person.  I know that I have many areas that I can improve upon and technology integration is one of those areas.  Prior to reading this week’s chapter, I didn’t know what a digital audio workstation was.  I can now say with confidence that I know what a DAW is!  Soundtrap and GarageBand both fall into the category of a DAW, because it is defined as a program which allows one to combine tracks from digital audio, loops and MIDI together (Bauer, 2014). 

This week’s discussion focused on non-traditional music programs and talked about how to reach the other 80% in music class.  I think that there are many benefits to non-traditional music program teaching and learning and that it does have a significant role in today’s society.  For many students, they learn best in hands-on environment, where they can experiment and take control in their learning.  In these settings, students are very much in control of their learning.  With the focus in non-traditional music classes incorporating technology, I think that this will help reach the other 80% and will also allow for advancements and alignments with common core and 21^st century teaching goals. Integrating technology into the music classroom doesn’t mean that we can’t still address the standards.  Students will still be creating and responding, we will just be looking at ways to address more students, while also providing opportunities for students to be creative and expressive.  I love this idea and hope that one day I can do something like this in my classroom.

Finally, the inverted triangle really resonated with me this week.  Elementary students learn with a ”music for all” approach and secondary students learn with a “music for some” approach (Williams, 1987).  Reflecting back on my experience in secondary music classes, I agree with this.  So many secondary music programs look at having students in ensemble classes instead of music classes.  Because of this, many students who could benefit from a non-traditional music class opt to explore other options outside of music ensemble classes.  I think that it’s time to find a way to reach all students.  Part of our job as music teachers is to reach and encourage as many students as possible.  One of our top priorities should be teaching the whole student to be a lifelong lover and learner of music. 

References 

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

Williams, D.B. (1987). Do our models for music research and teaching reflect our human social nature? Council for Research in Music Education Bulletin, Winter 1987, 65-73.