This week the text discussed using software programs to compose music, with or without music notation. As someone who knows how to read music and has been reading music for a good part of my life, I have never given much thought to composition without notation. To me, this idea seemed strange, but after reading the text and listening to the lecture, I can see where this idea makes sense. So many people in the world have an intense interest in music, but have no idea how to read music notation. As Bauer (2014) states, there are people who are considered “music illiterate” just as people who can’t read or write a language are considered illiterate. The people may be able to speak the language fluently and with no grammatical errors, but cannot read a single word of what they are speaking. Once again, from my perspective of someone who reads music daily, it is difficult for me to think in terms of literate and illiterate music students. In my classes, I require that the students learn to read the notes. Rote teaching can be very useful for younger students; however, in my instrumental music class I insist that the students learn to read the staff.
The other side of this is the students who love music, may be constantly listening to new music, do research projects about musicians and composers, have learned to play guitar or piano by ear, but may never have read a note in their life. This was mentioned at the beginning of chapter 3 in Music Learning Today with the sophomore student who had a deep interest in music, but was not part of the instrumental or choral programs. In this case, music software such as GarageBand (or other similar programs) offers a way to compose music by using graphic and aural composition techniques. The students can actually see the music while they listen and they can add audio loops to a timeline where they can then be altered to create the sound the composer is looking for. I think this type of technology is excellent for those who can’t read music and struggle with using programs such as Sibelius or Finale.
As I’ve stated in previous posts, I am very much a traditionalist and I have to say that I believe all musicians should become music literate and learn to read music notation. It’s not terribly difficult to memorize the notes on a staff, and even with tools that use audio clips, it could be very useful to write your own melodies on sheet music rather than using loops and sound clips that somebody else has already composed. I will definitely attempt to open my mind to the idea, but once again I find these technologies very useful for upper grades rather than elementary school. The students in elementary school may not be able to understand how to use programs like this, and easier notation software may be a better choice. I did learn about one App this week that interested me for younger students. The Pitch Painter App for iPad and iPhone allows young children to compose melodies by “painting” on their screens. The colors they choose represent different sounds and the designs that are drawn create different textures, tempos, and pitches. Once again, since this technology is geared toward children ages 3-6, this might be the wrong choice for 9, 10, and 11 year old children in the grades that I teach.
My favorite section of the chapters we read was the brief section in chapter 3 about critique and revision. This is such an important step in not only composition but in every aspect of music. Whether it is a piece that you are trying to perfect, a composition you have been working on for several weeks, or even a music lesson that you are trying to get right, it is important to be able to critique your self objectively in order to make revisions. So often both children and adults will skip this step because it is difficult to admit that something they have done needs work. I know personally I struggle with self-critiquing constantly. I am either lackadaisical about my issues and glaze over the problems, or I am incredibly harsh and unrealistic with my expectations and end up pushing myself to the breaking point. Finding a healthy balance of objective criticism is a skill that is not only useful for music but also for everything else in life. After learning to accept and give out helpful critiques, revision is imperative for any project to succeed. Nobody, not even Mozart or Beethoven, gets it right the first time. Everybody must take time to re-listen, re-write, and re-do all aspects of composition and performance.
Overall, I hope that more confidence with music technology in general will help me to open up about using non-traditional methods of teaching music and composition. I’m certainly not saying that my way is the best way; I just have a difficult time altering my teaching methods to fit the needs of the “modern” student. Also I have a difficult time adjusting these advanced technologies to cater to my younger students. Most technologies I have heard about are very useful for middle or high school, but only seem like I could use them to help me teach rather than help the students learn in elementary school. Hopefully throughout the remainder of this course I can collaborate with other elementary teachers about making compositional technologies work for young musicians.
ReplyDeleteI agree that composition without notation seems unnecessary, because learning music notation is not that difficult. My challenge has always been finding the time to explore creativity, while developing traditional musicianship. I have tried it both ways: More reading versus more exploration. I have found that when I allow students to have more free exploration before reading they don't want to learn how to read! So for the past 4 years I have done mostly reading with a “surprise” day for exploration: activities such as class projects. I also do a once a month activity called, "Show your talent." This is when students have an opportunity to present something they enjoy to the class. This helps them allow their voice to be heard. I also attempt to select creative music, and challenge them to read it. It took a while to develop a program in which students valued reading as a means of concert preparation. They now understand that music reading makes us a much better ensemble.
I also understand that in elementary school, you only see them once a week. The Ipod App sounds like it would address more than one learning style at a time, which is a good thing for the age group of your students.
Self-critique is difficult as a human being. We always have a reason why, because we know the challenges that were involved. It is definitely necessary for growth. Having supportive and honest peers around you can help. I try to remember: “Where there is no struggle there is no progress.” Frederick Douglas.
Amanda - I found myself nodding along as I read your post. I, like you, have been reading music for most of my life. It is hard to imagine not being able to read notation. While non-notated composition software and applications are interesting and open doors for musicians who do not read music, I agree that musicians should be musically literate.
ReplyDeleteI am so glad you mentioned the topics of critique and revision. I have observed a lack of drive in my students. They seem to be more interested in completion than in quality. In order to combat this lackadaisical trend, I have deliberately implemented more opportunities for evaluation in my classes - whole-class self-evaluation, student self-evaluation, and my own teacher evaluations of classes and individual students. It has been encouraging to see my students growing in their ability to critique themselves and one another with constructive words that include correct music vocabulary!! I agree with you that finding a healthy balance of objective criticism is a skill that will help our students succeed in life outside of the music room.