music technology Smartphone and tablet applications for the music classroom BY CHAD CRISWELL A member of Spiros Xydas ipad band at Baker Middle School in Troy, Michigan, works on her part. Yes, There Really Is an App for That The incredible growth in the use of tablets and smartphones in schools has provided many new ways for teachers to enrich and expand their classroom materials, while also making the logistics of running a program much more efficient. We spoke to several experts to get their opinions on how best to use these devices in the music classroom and to get some suggestions about applications. Educational Tools Spiros Xydas, instrumental music instructor at Baker Middle School in Troy, Michigan, used a set of ipads to create a special before-school ipad band as an extension of his existing program. A video of a recent public performance by the ensemble is available at vimeo.com/43682932. Xydas saw the ipad group as a way to kindle additional interest in his music program and expand on topics he was already teaching. The cool factor of using the ipads helped him to boost public awareness of his music classes, increasing their popularity and participation as well as allowing him to get students actively involved in composing their own music. To Xydas, using the ipad is about both advocacy and educational relevance. He says that in today s climate, to keep kids active in the program, you have to design experiences that are relevant to them. When properly used, technology can help you do that. With his large ensembles and other classes, he keeps a strong focus on topics such as composition and music theory, and various ipad apps help his students in these subjects as well. Using the online Noteflight music notation system, Xydas can have students work at school on composition projects with their ipads during the day and then continue working on the same projects in the evening via their own computers or other devices. Logistical Tools Jed Smart, band director at Tuscaloosa High School in Northport, Alabama, uses the ipad for more administrative purposes: to provide access to his gradebook, attendance, fingering charts, and other useful apps. Going one step farther, he has integrated the ipad into his classroom s audio/video system. Using an Apple TV box, he wirelessly transmits anything on his screen directly to a video projector or flat-screen TV (see sidebar for more details). He uses this not only for sharing information with students but also for tuning, recording rehearsals, and doing performance evaluations. Smart addresses the confusion over which apps to use by saying that there are literally thousands available in the PHOTO: COURTESY OF SPIROS XYDAS 22 Teaching Music I October 2012
App Store, and no one person is an expert on the subject. The best resources for teachers wanting to incorporate ipads into their curriculum are their neighbors and colleagues in the music education community. Which brings us to our recommendations list App Essentials While no one can say that any single app is perfect for every teacher, there are several general app categories each containing dozens of apps with which educators should familiarize themselves. Consider these suggestions (all for ios) when filling out your must-have app list. GRADEBOOKS AND LOGISTICS: SmartMusic Inbox Access, listen to, and grade student assignments from the comfort of your ipad. Free. Attendance A well-designed app that lets you take attendance quickly and easily on your ipad. Allows you to email missing students and has many other functions. $4.99. Gradebook Pro A full-featured gradebook app for teachers without a district-wide solution. $9.99. TUNERS: istrobosoft Thanks to the folks at Peterson, the granddaddy of stroboscopic tuners is now a mobile ios app. $9.99. Tonal Energy Tuner Arguably the most advanced multifunction tuning application available. Great for teaching pitch accuracy on wind instruments. $3.99. DIGITAL AUDIO WORKSTATIONS: GarageBand The classic Mac software brought to the ipad. For ease and simplicity, this is arguably the best. $4.99. Music Studio A multitrack recording app with more options and power than GarageBand. A free Lite version is also available. $14.99. FINGERINGS: Fingering The highest-rated fingering app in the store, it includes fingerings for all traditional concert band instruments, including lesser-used ones such as English horn and brass instruments pitched in non-standard keys. $7.99. Fingering Strings The same app, but for string instruments. $5.99. Instruments In Reach Basic A clean, easy-to-read fingering chart with entries for most concert band instruments. $2.99. THEORY AND EAR TRAINING: Karajan Incredibly complete music theory and ear-training app for experienced students. A free beginner version is available separately. $14.99. Tenuto A useful drill-and-practice music theory app. $3.99. COMPOSITION: Notion Arguably the best dedicated music notation app for ipad. $6.99. Noteflight (via Safari browser) The online Noteflight music notation system works very well on the ipad. Free, but a subscription to the service offers more features. ireal b A quick and professional way to create and practice chord charts and jazz improv. Allows you to practice with your creations as well as save and email them as PDF files. $7.99. ALTERNATIVE INSTRUMENTS: Seline Ultimate A multifunctional musical instrument for ipad with multiple voices and capabilities. $0.99. ProKeys An electronic piano app. $0.99. Drum Meister Grand A drum set on your ipad. $1.99. METRONOMES: Visual Metronome A simple, easy-toread metronome app that is great for large group use. $1.99. Subdivide Metronome A full-featured metronome with subdivisions and Airplay wireless support. $4.99. Steinway Metronome An elegant wood-grained metronome. Free. PRESENTATION: Prezi Viewer View and display presentations created with the free online Prezi software. Free. Doceri Connect remotely to your desktop or laptop computer GOOD WAYS TO SHARE Want to share what s on your tablet or smartphone with your class? No problem; just connect the device to your video projector or flat-panel TV. There are three basic ways to do it: APPLE TV These $99 hockey puck-sized boxes have AirPlay mirroring built into them. Just touch a button on your ipad or iphone to share your screen and audio. This is the easiest and most reliable way by far to wirelessly share your screen. However, Apple TV only provides HDMI connections; if your projector or TV doesn t have them, this solution won t work for you. AIRSERVER For those who don t have an Apple TV box or HDMI connections on their projector, AirServer (airserver app.com) provides the same functionality by routing audio and video through your Mac or PC. If you already have a computer in your room that is hooked up to a projector and sound system, this may be a lower-cost option. It also gives you the ability to show multiple screens at the same time; the tablet(s) and the desktop computer must be on the same WiFi network for this to work. AirServer offers a free trial version to let you check it out. IPAD ADAPTOR Available with an HDMI output, red/white/yellow RCA cables, or a standard VGA connector, the ipad adaptor ($29-$39, depending on type) allows you to mirror your ipad or iphone s display on any device with the proper inputs. so you can use and annotate over Windows and Mac programs, complete with audio and video support. Essentially a handheld electronic whiteboard. App free, desktop program $30. Splashtop 2 Connect and control any Windows or Mac desktop computer from your ipad. $2.99. MULTIPLE USE: APS MusicMaster Pro A Swiss army knife of music education apps. Includes a metronome, tuner, sheet music viewer, fingering charts, audio recorder, timer/ stopwatch, music terms, instrument/vocal ranges, and transpositions. $9.99. Are there apps you ve discovered for your music classes? Share them on the NAfME forums (musiced.nafme.org/ forums). nafme.org 23
lectern You re A Player, Too How to keep developing your musicianship while teaching BY ANDREW GOODRICH Ensemble directors often remark that their ensemble is no better than its worst player. A converse statement, however, applies as well: An ensemble performs no better than the musicianship of its director. Developing musicianship is a vital component of success as a music teacher. Improving your level of musicianship doesn t necessarily equate with improving your level of performance ability. Music teachers can improve and refine their musicianship without becoming world-class performers. With an exceptionally busy schedule, how can you devote your time to developing musicianship? Refresher courses offered during the summer months and/ or conference sessions may help in the short term, but what if you want to keep developing over the duration of your teaching career? The following strategies include practical ideas that can help you improve your level of musicianship. They don t require purchasing any additional equipment, and you can practice them on an individual basis or concurrently with other activities. None of these ideas include quick fixes. Rather, over a period of time, they ll help you raise your musicianship to a higher level. Definitions of Musicianship The term musicianship suggests a variety of meanings and definitions. For the purpose of this article, the phrase developing musicianship is defined as 1) Practicing 2) Performing 3) Conducting 4) Listening A music teacher s level of musicianship can reach a more advanced level via practicing, cultivating performing opportunities, improving conducting skills, and improving listening habits. Practicing The best way to find time to practice is to make it a part of the daily schedule. Often, if a music teacher attempts to practice only on the weekend, it doesn t happen. After a busy week of teaching (and most likely a busy weekend as well), most teachers will be too tired to practice and will want a break. So try being creative with practice time. One option entails warming up in the morning in conjunction with another activity. You could, for example, warm up while working out in the morning (at home) or going for a walk. Activities may include singing, buzzing on a mouthpiece, playing on a double reed (e.g., reed pushups ), playing on the reed and barrel of a clarinet, playing on the reed and mouthpiece of a saxophone, playing on the head joint of a flute, and loosening up wrists and arms for percussion. If warming up consists of using a set routine to various pitches, try recording various pitches or even a whole warm-up routine on a CD or MP3 player to provide a reference for pitch, and play it while exercising. If buzzing on a mouthpiece, soaking a reed, or playing the head 24 Teaching Music I October 2012
NAfME Past President Willie Hill performs with members of the Howard University Jazztet PHOTO: BECKY SPRAY joint of a flute aren t realistic options, try practicing breathing exercises to prepare to play or sing. Although some of the breathing exercises will likely need to be modified because you re moving, you can still get your breathing ready during your morning routine. What if none of these fit into your schedule before going to school? Warm up and practice at school before the day officially begins. For example, arrive at school 10 15 minutes earlier than normal to conduct a warm-up. This is early in the morning especially if an ensemble rehearses at zero hour but it s better than nothing. Try warming up while checking email. This same concept can apply to the remainder of the school day. Set aside 10 minutes during a prep period to practice, or practice during the lunch hour, if this option exists. Performing It s important for music educators to continue performing. Tim Lautzenheiser remarks in his clinics that music teachers are a funny bunch: They teach music every day, all week, and what do they do when they have free time? Perform in a music group! Community ensembles can provide a great opportunity to continue performing while teaching. Plus, they offer an occasion to network with other music teachers and members of the community. Another option is to perform with Performing with students provides another type of experience with them, but it also provides an opportunity to exert your musicianship with the students. students. A word of caution: Avoid using an instrument or your voice as a crutch (e.g., teaching by rote all the time) for students. With that in mind, performing can provide another way to connect with students. For example, you could be the fifth-chair trumpet in the jazz band you direct. Not only does performing with students provide another type of experience with them, but it also provides an opportunity to exert your musicianship with the students. Conducting Conductors often say that the baton is now their instrument or voice. With this notion in mind, it s important to practice this instrument. Conducting is another nafme.org 25
route toward developing musicianship, and practicing can help improve overall musicianship. A variety of options exist for the music teacher with a demanding schedule. For example, make time to practice in front of a mirror. Practice with a metronome. And, most important, study and really learn the scores at all levels of teaching. You can accomplish these practical suggestions in 10 15 minutes a day. For score study, play the different parts on the piano. For example, play the primary melody and secondary harmonies at the same time. Focus on one section of a composition, or even one phrase, to really learn the different parts. Over time, this aspect of score study will become easier and a more efficient process. Another option is to sing through all the parts in the score. Certain parts will need to be sung in your vocal range. Singing the parts with the aid of a piano can help you thoroughly learn the score. Singing various parts of the score is not only for vocalists it s also beneficial for band and orchestra directors. Listening As you practice your conducting, instrument, or voice, practice your listening skills, too. Immersing yourself in music in the morning and evening can further develop listening abilities. Making the time to listen to music, whether via recordings or live performances, is a challenge for music educators with busy teaching schedules. It s important, however, to set aside time to listen to recordings of For score study, play the different parts on the piano. Setting aside even 5 10 minutes per day will result in a cumulative effect over the long term and more highly developed musicianship. professional groups as a reminder of what exemplary ensembles sound like. Attending live performances offers another opportunity to hear exemplary musicianship (e.g., a nearby university ensemble, a military band on tour). In addition, listening skills can improve with ear-training exercises. This process didn t stop upon the completion of a sequence of aural skills courses for a music education degree; that was only the beginning. Continuing to develop listening skills via aural exercises can contribute greatly to furthering the development of your musicianship. Jazz musicians often remark that the first thing they do when they wake up is to practice ear-training exercises. The following practical exercises are easy to do without a partner and don t require purchasing any ear-training software. Furthermore, they don t require a substantial amount of time. Remember, the idea is to practice a little bit every day. After a short period, the cumulative effect of practicing listening skills will become apparent. Exercises for Developing Your Ear 1) Play intervals. Focus on one interval (a minor second, for example) for 5 10 minutes per day. For example, play a note on the piano, in your voice range, and sing a minor second above or below the original note. Focus on this interval only. On the next day, select a different interval (a perfect fifth, for example). Over time, you can become much more comfortable with these intervals, and your listening skills will improve as you listen to your ensembles. 2) Play the root and fifth of a chord on the piano, leaving out the third. Then sing the third to complete the triad. This is excellent for developing harmonic ears, and it helps with hearing chords in the ensemble. 3) Listen to the radio and practice identifying the chords used in a song. Since a lot of pop musicians typically use only one or two chords, listen to pop radio stations at first. Sing along with the song to help with learning the chords. Then, double-check these chords using a piano or guitar. Next, listen for other aspects of the song, including the melody and bass line. Once again, double-check the pitches on an instrument. You can do the listening portion of this exercise while driving or walking to school. When arriving at school, take a minute and double-check the chords, melody, etc. on an instrument. Within a relatively short period of time, this activity becomes easier. Results The adage Rome wasn t built in a day applies to using these practical ideas and exercises. Setting aside a little bit of time even 5 10 minutes per day will result in a cumulative effect over the long term and more highly developed musicianship. Whether you decide to maintain a daily practice schedule with your instrument, perform, practice conducting, work on ear training, or a combination thereof, not only will your level of musicianship improve, but the musicianship of your students will benefit as well. Andrew Goodrich is assistant professor of music education at Boston University in Massachusetts. PHOTO: ISTOCKPHOTO/THINKSTOCK 26 Teaching Music I October 2012
g n i n n a l P!"#$%$&'$(") By October, achers many music te g toward orkin are already w r s first big a the school ye ver y thing e concer t and e a major b about that can act. balancing W BY KEITH PO A holiday concert at Georgia College in Milledgeville, Georgia 28 Teaching Music I October 2012 ER S
!"#$%&%&'%$ It s December in A the population of merica. Holiday time at least fo find a variety of today s schools is so multicult r some. Because ur re al, teachers may lig io us beliefs repres from Islam, Ju atheism, and man daism, and Christianity to Jeho ented in their classrooms, igate, even when y others. All of which makes this vah s Witnesses, Hinduism, seas you For music direct re teaching the universal langua on a little tricky to navor ge. s everywhere their students fi rst exposure to, planning a big December conc th other. First of al ert often e public can be l, cert? A w inter what do you call it? A Christm one frustration after anco closed for vacati ncer t (t his despite the fact th as concert? A holiday conat on by the time w inter officially ro most schools are already lls around)? Or something nafme.org 29
else entirely? No matter what you decide, someone it could be an administrator, a parent, or a student may not be happy with the choice. Selecting repertoire is another big issue. How much holiday music should a holiday concert feature? What s the proper balance between sacred and secular, and between music associated with one religion and music associated with another? Programs that can appeal to every potential audience member are wonderful, but they re diffi cult to create. Many music teachers say the toughest balancing act of all is fi nding diverse holiday music that also happens to be good. And a huge problem with any December concert is the push to start rehearsing just after Labor Day, and maintain interest and focus for three months. In the words of Will Gunn, music director at Plymouth Regional High School in New Hampshire, There s just too much time between September and December, whether it s holiday music or not. Cliff Towner, currently assistant professor of music at Georgia College in Milledgeville, Georgia, taught at McNicholas High School in Cincinnati, Ohio a Catholic school for almost a String students at Brookwood High School in Snellville, Georgia, give a holiday performance at the Georgia Governor s mansion. I always try to include a foot-tapper for the audience in my concerts. That s my own philosophy: head, heart, foot. Will Gunn decade. He says that for most of the fall, his high school students worked on other literature. I didn t introduce Christmas songs until after Thanksgiving. They learn them quickly. The biggest issue, even for me at a Catholic school, wasn t dealing with the holiday, it was not letting that concert carry that much weight, not when it s one-third of your school year. Look, we re not required to read The Night Before Christmas every year in English class before the holiday, Towner adds. Not even a religion class will spend that much time on the topic of Christmas. It wouldn t be any different from spending one-third of the year playing Sousa marches. I love Sousa, but there s way too much great literature. I don t even want to play that much Bach. Only If It Sounds Good If you re going to be a music educator, you have to pick stuff that encourages students to grow as musicians and as people, says Matthew Saunders, now in his fi rst year as music department chair at Lakeland Community College in Kirtland, Ohio. Saunders recently left Oklahoma Panhandle State University after fi ve years, and he has also taught in public high school. I always taught in districts that had a Christian majority, and generally everybody wanted to go to a concert and hear Christmas music. Nobody complained about it, and I didn t fi nd myself in any controversy. The key is fi nding good music. You can t be an American and not hear Christmas music continually from Halloween until Christmas. I don t need to add to that. I m a Christian, but I am sometimes distressed with what the commercialism of Christmas has done to our society, and I wonder if it s worth the time. For all my groups, December is the fi rst real concert, says Amanda Schmidman, who teaches in the Pepin Area Schools in rural Pepin, Wisconsin. I teach in a really small town, one band and one choir. Starting winter music in September is limiting for us, but more so at the elementary level, where we have a Christmas concert, as it s always been called. For the older kids we do a winter concert, and it hasn t been an issue. People appreciate recognizable music I just try for a good mix, and I don t want to preach to the audience. With a wintry theme, I can usually fi nd musical merit. Kevin McElheny taught 5-12 instrumental music at Jefferson Morgan School District in Jeff erson, Pennsylvania, for 30 years. Most of the years we did a fall concert the week before Thanksgiving, he says. I did it so I could avoid scheduling confl icts. We usually did not have any trouble getting a concert ready by December. If the opportunity presented itself, we would do a holiday piece on the program, but mainly it allowed us to PHOTOS: OPENING SPREAD: TIM VACULA; THIS PAGE: COURTESY OF CATHIE HUDNALL 30 Teaching Music I October 2012