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Similar a Teaching Music Technology Concepts with Few Music Technology Resources
Similar a Teaching Music Technology Concepts with Few Music Technology Resources (20)
Teaching Music Technology Concepts with Few Music Technology Resources
- 1. Teaching Music Technology Concepts with Few Music Technology Resources
- 2. Free/Low-Cost DigitalResources(DAW) Audio Workstations Multitrack Stems & “Acapellas” Notation & Traditional Music Theory Miscellaneous Software
- 3. Digital Audio Workstations Audacity Kristal (audacity.sourceforge.net) (kreatives.org/kristal) FREE FREE Ardour Reaper (ardour.org) (ardour.org) Pay What You Can $60 non-com license ($45 Recommended) (classroom licenses available)
- 4. Stems/Acapellas Indabamusic.com Ben Folds “Stems & Seeds” Phoenix “Wolfgang Amadeus Phoenix” Manufacturer websites Miscellaneous websites
- 5. Notation & Music Theory Noteflight.com Finale NotePad Teoría.com Musictheory.net
- 6. Miscellaneous Resources Whosampled.com Auricula Quiztones Musicdelta.com
- 7. The Elements of Music They’re still the same! Embrace the repertoire Make practical connections
- 8. Dimensions of Sound Up Back to Front to Left Right Down
- 9. Teach the Concepts Vital regardless of technology Setup guideposts Connect their importance
- 10. Analyze the Masters Basic, large-dimension listening • What is the form?
- 11. Intro 1 bar (0:00-0:02) Verse 1 8 bars (0:03-0:40) Chorus 1 8 bars (0:40-1:32) Interlude 4 bars (1:33-1:58) Verse 2 8 bars (1:59-2:37) Chorus 2 8 bars (2:38-3:12) Bridge 8 bars (3:13-3:50) Guitar Solo (verse) 8 bars (3:51-4:23) Chorus 3 (double) 16 bars (4:24-5:14) Coda 4 bars (5:15-5:36)
- 12. Analyze the Masters Basic, large-dimension listening • What is the form? • What instruments do you hear?
- 13. Lead Male Vocalist Two rhythm guitars (distorted, humbucker, neck pickup?) Lead guitar (overdriven with deep ¼ note triplet tremolo, tele bridge pickup) Bass Guitar (kick and bass play together during chorues) Drums Percussion (congas, small shaker, tambourine without head?) Strings How can we expand these descriptions?
- 15. Analyze the Masters Detailed, small-dimension listening • Notate form & meter vs. timings • Graph volume, panning, etc. • Rhythmic dictation
- 16. VERSE 1 0:03 4 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Lead Vox Guitar I Guitar II Lead Guitar Bass Drums Percussion Strings
- 17. Mix the Masters Indabamusic.com Stems direct from artists Stems from manufacturers Musicdelta.com
- 18. Lo-Fi Signal Processing Use objects you already have • Spring Reverb • Plate Reverb • Telephone Bandwidth • Consumer Controls
- 19. Acoustics All Around You Use spaces all around your school What makes them sound that way? Found object acoustics
Notas del editor
- There are DOZENS of workstations for us to choose from, each principally serving the same function, but some with slightly different interfaces and feature sets. All are great tools, and I think we develop allegiances depending on what we learned to work with and what we’re used to, but also what kind of recording and editing we need to do. Every major manufacturer has some kind of free trial version available, so if you haven’t aligned with one already, take advantage of those sample versions and play around – see what fits your needs best. Many of the major manufacturers also have entry-level versions that are priced appropriately for school systems, but are compatible with their most advanced versions and scaffold students through the software, starting with the most basic functions and growing from there. Know the features you’re looking for – do you just want something to record audio and make simple edits, the modern equivalent of a tape machine? Some programs – most notably reason and ableton live really specialize in sequencing and synthesis, but don’t do much in the way of audio editing. Do you anticipate doing a lot of work with pre-made loops, where you want the software to automatically adjust the pitch and playback speed of the loop as you change tempo or key? Or do you want something that has a comination of many of these features? That’s going to be up to you and hopefully complimentary to your curriculuar goals. So I’d recommend taking some time to see what’s possible with technology, come up with a really solid curriculum with that in mind, and THEN decide what specific software/hardware etc. will help you make that curriculum happen.I’ll take a moment just to look at four common, free or low-cost digital audio workstations that hopefully you’re already familiar with, but if not this might get you started.AUDACITYKRISTALARDOURREAPER
- When you’re teaching MT, the core elements of music are still the same when you are teaching music technology. Melody, Harmony
- When you’re teaching MT, the core elements of music are still the same when you are teaching music technology. Melody, Harmony
- When you’re teaching MT, the core elements of music are still the same when you are teaching music technology. Melody, Harmony
- When you’re teaching MT, the core elements of music are still the same, and are going to be the same no matter what equipment or resources you’re using. This is all material everyone in this room knows very well, and is very accomplished at conveying to students. We’re challenged to step away from the conditions under which most of learned about the elements of music, and embrace the vernacular of modern popular music as a vehicle for teaching these fundamental concepts. We’ve got to make it fun, engaging, and practical; developing exercises that utilize the technology, embrace music the students relate to, and will encourage students to see the depth of the musical palette available to them: It’s not just notes – and…
- So I would argue that teaching these concepts is vital no matter the technology we have available, and just because on program might have a multitude of workstations and software options, doesn’t necessarily mean they should just turn on the computers and the let the students go. They can get lost in that. But if you’ve set up some of these guideposts, and connected the importance of the elements to repertoire that the students enjoy and relate to, your setting them up for successful experiences with their own creative endeavors in this medium.
- CRAZY examples
- CRAZY examples
- CRAZY examples
- Students can just list the instruments they hear, they could even say when they hear them. And eventually you can explore more about the sounds they’re hearing – defining terms like “distortion” “tremelo” and “congas” as we go”. You can also start to address how the instruments interact and play together.
- Having students find the specifics and personnel involved in making a record can be a great jumping off point for discussions about the roles of all these people and organizations, and a discussion of the music business side of things
- CRAZY examples
- Having students find the specifics and personnel involved in making a record can be a great jumping off point for discussions about the roles of all these people and organizations, and a discussion of the music business side of things
- Indaba music offers free and paid memberships to their site, where they host remix competitions and make multitrack stems available as part of these contests. They also have an online DAW called Mantis, which is limited in it’s features but can still get your program started on one computer, with no additional expense. Artists like Guster, Tpain, Ben Folds, Radiohead, Phoenix, Peter Gabriel, Lily Allen, Theivery Corporation, NINAbleton the manufacturers of the sequencer/workstation Live post stems and host contests for remixesMusicdelta.com
- Spring reverb, plate reverb, automatic gain control, the “telephone” sound,
- Record different instruments in space around your school. What makes them sound that way? Illustrate isolation, absorption, diffusion