OneNote Overview for Teachers

Microsoft OneNote has developed substantially since it was first released.  The most recent version of OneNote has a great number of potential classroom applications.  It is incredibly versatile, with a stand-alone application available for Windows, Mac, and Android.  This wide compatibility makes it easy to utilize OneNote in both 1-to-1 schools and "bring your own device" districts.  The base application is also free, a price point that makes it extremely accessible for students with limited financial means.

OneNote makes it easy to keep and index an impressive array of information from different sources.  All of the information in a OneNote account can be searched almost instantly.  Emails can be copied from Outlook, pictures can be inserted from outside sources, tasks can be synced to Outlook, emails can be sent through Outlook from OneNote.  This flexibility makes the application extremely easy to tailor to your individual needs.  Teachers can keep notebooks for lessons (a separate notebook for each class), share specific pages (whether lessons or completed assignments) with parents or other educators, and share specific links with students.

This software has a great deal of potential for use in the classroom.  Within OneNote teachers can create notebooks for each individual class.  Within these notebooks, students can be assigned work (and that work can be graded), spaces for students to collaborate can be created, and interactive lessons can be designed, completed, and assessed.  Comments on individual assignments can be recorded or written within the software.

Teachers can also use the software to assist in the lesson planning process.  Microsoft has made it very easy selectively capture screens from webpages and insert them into a OneNote notebook page for future reference (including the webpage URL).  To do lists can be organized to appear on a specific page even when created in other notebook sections (and even from Outlook).

OneNote contains an intuitive, customizable, and powerful interface that could be easily adapted for classroom use.

In my test of the software, I created a notebook section for my senior students to make suggestions for choral pieces for our annual Senior Tribute Concert.  By creating a OneNote page for this task, students won't make the same suggestion thirty times, as they can see the suggestions of their peers.  They also have an opportunity to see and hear the pieces that their classmates have submitted for consideration.  A screenshot of that page is below:

Technology for Professional Productivity and Development

Many of the technologies discussed by the author in chapter eight are technologies I use on a regular basis.  The use of various technologies a productivity tools have been so ingrained in my generation that their use is almost second nature.  My school district utilizes "Google for Education" (a suite that includes an educational version of Gmail, Google Drive, and the remainder of the Google applications).  My musical cast and I use Gmail to communicate, Google Drive to share rehearsal schedules, and a Google Calendar to view that same rehearsal schedule.  Staff members collaborate on shared documents on a regular basis.  The sign-out of technology equipment has become substantially more streamlined, as teachers can sign their classes into computer labs from anywhere.  Cloud-based computing is making many tasks far easier.  While I keep a Dropbox account active, I prefer to use Google, simply because it is a "one stop shop" of sorts.

The list of communication methods outlined in the chapter is impressive!  There is one service missing that I would mention specifically.  I'd include the online service and mobile phone app Remind (formerly Remind101) to the author's list.  This free service allows teachers to send group text messages (and emails) to students and parents.  For students and parents with smartphones, this service now allows messaging similar to texting.  The advantage to this application over using a traditional text message is that it does not force you to give your cell phone out, nor does it require students to give their personal information to you.  Everyone's data is protected and all parties can safely communicate.  PDF documents and photos can also be disseminated using this program.  Remind keeps transcripts of messages and texts sent using the service in order to protect both teachers and students.

I have a question for everyone regarding the public relations portion of the chapter.  "Student performance can also be showcased by uploading videos to YouTube and then embedding the videos in the program website. (Bauer 2014, p. 171)"  Is this legal?  I have wanted to upload videos of my ensembles to the internet, but have not been able to determine if you have to get special permission to upload copyrighted material to YouTube.  This question is asked online by directors in several forums, but no one provides an authoritative answer.  I've never heard of a choir director being sued for placing a concert recording online, but I worry about publishing non-original works online, even for no profit.

Most of the professional development portion of the chapter addressed information that was found earlier in the book.  However, until Chapter 8, I had never heard of the app Diigo.  The idea that a web application automatically saves a snapshot of any webpage you link to so that you can always reference that material is revolutionary.  The implications for sharing resources among educators is also quite impressive, as you can choose what links and information you share with others.  This would be an excellent addition to the PLN, if one convinced other educators to use the software as well.

References:

Bauer, W. (2014). Assessment of Music Learning. In Music learning today: Digital pedagogy for creating, performing, and responding to music (pp. 167-187). New York, NY: Oxford University Press.

Spotify Playlist/YouTube Tutorial/Songwriting Foray

Below are links to my Spotify playlist, my YouTube Tutorial, and embedded into this post (hopefully), is my first entry in the songwriting foray (don't judge the voice too harshly, I have an appointment with the ENT tomorrow for a reason)!

Spotify Playlist:

https://open.spotify.com/user/ben.lupo/playlist/5gbpUnKXQ517q6WiyNYofx

YouTube Tutorials:

First Time I Saw You:

Let me know if one of these doesn't work right in the comments and I'll get it fixed!  Thanks for reading/watching!

Using Blogs to Grow Lifelong Learners/Music as a Primary Need

Half of my sixth grade general music students are not involved in choir, orchestra, or band.  Those students tend not to rotate into my course expecting to enjoy music (class).  It isn't uncommon to hear "I'm not good at music" or "I don't like music class" from these students on a regular basis.  There have to be some ways to reach these children.  The author distinguishes between "intuitive and formal listening processes, (Bauer 2014, p. 110)" and identifies that both processes should be utilized in the education of general music students.  Intuitive listening assigns control of music selection and learning to the students.  Formal listening is guided by a teacher, and is often focused on musical concepts and techniques.

I like the idea of allowing students freedom in what they listen to (and what they listen for).  However, students should reflect on what they listen to.  The idea of utilizing a blog could be helpful.  As teachers, we are involved in the business of creating lifelong learners.  Teaching every student to begin a blog and creating opportunities that facilitate intuitive music listening that leads to reflection can be beneficial.  With formal listening in the classroom and encouraged intuitive listening and reflection students can be taught to be skilled and discerning music consumers.  From an educational standpoint, getting students to reflect on what they listen to helps them to actively listen instead of simply hear and brings music out of the background and into the forefront of their perception.

As a teacher, I would expect that a student would be able to distinguish more about a piece of music they were examining and describe those characteristics in more detail after spending time in my classroom.  This provides a unique opportunity to create almost a "hidden portfolio" where students don't realize that they are creating a portfolio demonstrating their ability to process and describe music.  Between critical thinking, writing across the curriculum, formative assessment, and cross-curricular activities, there are enough current educational buzzwords to melt the heart of even the sternest administrator.  We all remember reading books in Language Arts that were good, but we didn't enjoy them simply because we were forced to read them.  If we give students enough choice, what is to say that they won't eventually fall upon Whitacre's Sleep or Beethoven's Egmont Overture?

In section four of this week's lecture, Dr. Barzan mentioned that there is research suggesting that music is a "primary need" by teenagers; that is, that music is considered by teenagers to be almost as important as food and shelter.  If that is the case, how can we better tap into that need?  How can we meet students where they are to bring them somewhere else?  If we were to ask students to create a Spotify playlist, what could we learn about them?  I can't help but imagine that it would positively impact both our instruction and our effectiveness.

References:

Bauer, W. (2014). Assessment of Music Learning. In Music learning today: Digital pedagogy for creating, performing, and responding to music (pp. 101-129). New York, NY: Oxford University Press.

Not Quite Class Related

I just wanted to take a moment and brag for a few on how hard my students have been working lately.  I'm so proud of them right now.  Overview of the last three weeks:  This past weekend, they performed Into the Woods.  We are a small, rural high school and they mounted an excellent production.  Three weeks ago, they travelled to Washington DC.  Today (ONE DAY after the musical closed), my show choir began rehearsals for a concert in three weeks for three hours.  Not one student complained!  Friday, they go to state large group contest (for the first time in five years).

They don't complain, they just keep working.  I am continually inspired by their work ethic, passion for music, and willingness to learn.

It's a great day to be a teacher!

Assessment

Assessment is simultaneously the most difficult and frequently accomplished task that we as music educators complete.  Until this point, I have relied on either pencil and paper grading, or evaluations of recorded performances to assess my students summatively.  We assess our students formatively in each rehearsal.  In many ways, rehearsal is formative assessment in practice.  I wish that more teacher education programs approached assessment as pedagogy.  Most of my undergraduate career focused on vocal, instrumental, and general music pedagogy.  Viewing assessment as pedagogical knowledge and pedagogical content knowledge, even separate of the TPACK model, would change the way teachers are prepared for the field.

Marzano's four points addressed by Bauer (Bauer, 2014,  p. 132) are essential to nurturing and encouraging student growth.  The four can be grouped into slightly broader categories:

           1)  Feedback should show students how they are progressing in ways that encourage them to improve.

           2)  Assessment feedback should be given often and during the learning process so that student learning can be maximized.

Since formative assessment occurs during the regular school day more often, I'm going to focus primarily on the mentioned technologies that assist in formative assessment.

The use of electronic forms like SurveyMonkey, Google Forms, and Flubaroo can be used to gauge student progress.  A student "ticket-to-go" or mid-class evaluation in a 1:1 technology school would allow me the opportunity to rapidly assess their progress (and my efficacy) and adjust the direction of my lesson during the middle of a class period.  I really liked the idea of using a student response system.  "The response systems, which are available in dedicated software or web-based forms, aggregate the student responses and quickly let the teacher know if the class understands a topic (Bauer, 2014, p. 135)"  Does anyone have experience using these clicker devices?  Especially given the pervasive nature of cell phones, iPods, and tablets in the educational system, this may be a good opportunity to give students to demonstrate responsible and professional technology use during the school day.

Google is really changing the way that schools can deliver content.  In addition to providing a reasonably functional office suite, it afford teachers the opportunity to share assessment documents (i.e. rubrics) with students well in advance of an actual assessment date.  It is also absolutely free.  Google Forms can be used to create rubrics that can be utilized electronically.  Students can create portfolios on their individual Google Drives and share them with the teacher.  The teacher can make comments on student work (even in real time) with the student.  This technology, if implemented well, could make assessment substantially more streamlined.  As both a formative and summative tool, Google is really making a substantial impact on education!

Our district uses the Pearson PowerSchool LMS products.  It really does make assessment pretty efficient.  I do, however, wish that these software suites interfaced with other programs so that quizzes graded in Flubaroo or Google Forms could be immediately input into GradeBook.  From a time management standpoint, inputting grades for three hundred students daily leaves less time to analyze the collected data.

References:

Bauer, W. (2014). Assessment of Music Learning. In Music learning today: Digital pedagogy for creating, performing, and responding to music (pp. 130-145). New York, NY: Oxford University Press.

Chromatik and SmartMusic Review

Chromatik is a web-based application that provides individuals access to sheet music and musical tools across a wide variety of styles and genres.  This free application is available on personal computers through an internet browser or as an Android/iOS app.  In order to utilize all features, computers, tablets, and smartphones should have a functioning video camera and microphone.  Users create a free account and have access to sheet music transposed to the appropriate key or clef for any of the following instruments:

• Bass
• Bassoon
• Cello
• Clarinet
• Cornet
• Euphonium
• Flugelhorn
• Flute
• Guitar (including tablature)
• French Horn
• Oboe
• Percussion
• Piano
• Easy Piano
• Alto, Baritone, Soprano, and Tenor Sax
• Trombone
• Trumpet
• Tuba
• Ukulele
• Viola
• Violin
• Voice

Once an account is created, individuals can select various styles of music and select specific pieces to view.  While viewing the sheet music, users can access YouTube (or other web-based) reference videos.  Chromatik allows users to upload their own scanned music PDF documents for inclusion in their personal music library, annotate scores, and record practice sessions.  Also included is a metronome and tuner.  Users can also post recordings of their music-making to social media sites including Facebook and Twitter.

This app is easy to navigate, and use.  The mobile application (I used the iOS app) was more intuitive than the web application.  Chromatik seems to be geared more towards tablet use.  The app claims to measure practice time, but only measures how long a piece has been open, not how long (or how well) it has been practiced.  It does not give musicians feedback or provide or assessment.

The software did have an educational suite at one time "Chromatik for Groups and Schools," but is no longer offered.  Click here for more information on the old education suite.

SmartMusic is a downloadable, subscription-based, software program for ensemble teachers.  It is designed to give students individualized and immediate feedback, progress at their own rate, enhance practice, help teachers keep track of and assess each individual student, and facilitate more advanced classroom rehearsals.  

Teachers use the educator program ($140.00 annual subscription) to assign students practice assignments and track student progress.  Many method books for varying instruments and standard repertoire are included in the software, but teachers can input pieces through Finale and upload new pieces into the software's library.

Students receive the assignments using a an Apple and Windows computers (or Apple iPads) equipped with a microphone and either a student ($40 annual subscription) or practice room ($44 annual subscription that can be used by any student from that particular workstation).  As they practice, the software shows them the pitch and rhythmic accuracy of each performance. 

As students practice, they set their own tempo, establish loops, view their intonation on a built-in tuner, and click on notes to see fingering patterns.  Part recordings and accompaniments are also available to give each practice session context.  When assignments are opened, students can record them as many times as they'd like before submitting the assignment to the teacher, and since students see their accuracy score as they record a sample, grade justification should be less of an issue.

The software, at least from the student end, seems to be intuitive and easy to use.  It has a great deal of educational potential, but costs a great deal of money.  The $140/year account for the classroom isn't a great deal to ask be allocated.  The $40.00 student subscription cost could be prohibitive for families, although with a practice room subscription, cash-strapped families would be able to have students complete assignments at school.

Building Self-Efficacy

Bauer identifies that individuals with a "high degree of self-efficacy - the belief that they can be successful and achieve at an activity... are more likely to be intrinsically motivated (p. 81)."  This is almost common sense, but it hadn't occurred to me in terms of developing student practice habits.  When we present a piece of music to our students, we generally present it in small pieces that allow students to find success easily.  The hope is that they will become engaged in the success, making them more likely to engage in a meaningful way with the music.

As a chorus director, I struggle to find good traditional ways to facilitate student practice.  It is easy to assign a rhythm sheet or solfege assignment.  I find it harder to provide practice scaffolding that facilitates student success when practicing repertoire.  Students can download tuners and metronomes to their cell phones with ease.  It takes a certain level of autonomy and confidence, however, to effectively utilize these tools.  CD, MP3, and MIDI recordings of accompaniments can be useful tools, but they don't allow for great musical flexibility.  The tempo of a CD or MP3 is static; it doesn't allow students to fully engage in music making.

SmartMusic is appealing because it can provide students with an opportunity to be musically expressive while still providing tonal structure to their singing.  The idea of an intelligent electronic accompanist is intriguing.  As a vocalist, the opportunity to transpose pieces with a simple click is extremely appealing.  It also gives students feedback on certain technical aspects of their performance (notes and rhythms).  Bryan High School is getting 200 licenses for SmartMusic through the district next year.  I'll be curious to see if the technology is as effective as it appears to be.

Since today, students are generally immersed in technology, it makes sense that technology can be used to help facilitate enhanced student practicing.  In the end, teaching students to be intrinsically motivated helps them to become better musicians.  It would also save me quite a bit in brownie ingredients!

Bauer addresses using recordings made during to help provide feedback for students.  I currently use a Yeti Stereo Microphone with Audacity in my classroom.  "[M]iddle and high school students are not always aware of mistakes when they make them during performance.  However, if that performance is recorded and the students are given the opportunity to listened to it, they often do notice errors upon playback (p. 86)."  Since I began recording student performances and using those recordings to teach students to diagnose their own errors, my classes have become much more adept at error detection and correction.

I'm going to be seeking other ways as this class continues to use technology to help my students feel that they can be successful; of course, as music teachers, we know they can be.  Teaching students to be intrinsically motivated is a powerful thing!

On Literacy, Facility, and Audiation

The reading for chapter three engaged me instantly this week.  Notation and literacy are at the very core of my philosophy as a teacher.  I have frequently used words very much like those used by the author "Just as someone wouldn't be considered literate in language unless he or she could read or write, these music educators believe the same is true for musical literacy. (p. 59)"  I truly believe that the greatest gift I can give my students is the ability to actually read and be functionally musically literate.  Whether or not they choose to pursue music as a vocation, music can be an activity that they can enjoy for a lifetime.  I need no convincing that literacy is my approach.  Instead, I'm going to reflect on and explore the pedagogical philosophy of allowing students to compose without notation.

Composition without notation is identified as being attractive and interesting to students who have not otherwise engaged in school music programs, but who enjoy music.  If I understand correctly, this compositional pedagogy uses non-notational exploration as a "hook" to give a students the opportunity to engage in music.  Once students are exploring and creating, teachers can begin work to expand their musical knowledge.

The use of "graphically oriented software" seems to be the most logical choice for a technological exploration of non-notational composition.  As Bryan is a Mac district, GarageBand is the most readily available software option available to me.  I like that it can be used on a basic level with younger students, but can be explored in more rich, complex, and expressive ways as students grow and mature.  The author acknowledges that this may lead to "tool-driven" composition that may become "more sophisticated and of higher quality than would be possible if everything had to be notated. (p. 65)"  If the goal is to help students become facile with sound, this may not be an inherently negative thing.

I very much like the idea of encouraging students to "think in sound. (p. 65)"  Audiation is essential to composition, performance, arranging, and improvisation.  Does "thinking in sound" using software have a greater benefit that listening to excellent music?  I honestly have no idea.  Might exploration aurally and through manipulation enhance one's ability to do so? Quite possibly.

Does anyone in this class use GarageBand or a similar program to teach composition or arranging in a non-notational manner?  Have you found that it helps or hinders a student's ability to read music?  If in your experience has been that it helps, it may be time to revise my philosophy (at least as it pertains to teaching composition and notation to students).

Fantasia on Tackling the "Elephant in the Choir Room"

Many music educators (myself included) are very quick to discuss and explain the "academic nature" of this profession.  As music educators, we often encounter individuals who do not understand the process of music education, focusing only on the end product of countless hours in rehearsal.  In the past six years, my discussions with those individuals have focused on the importance of music education for its own sake, because of its many evidenced extramusical benefits, its positive impact on both standardized test scores as well as other academic areas, its and many other benefits.  Oftentimes, I am quick to mention that music teachers have academic content standards (on both the state and national level).  How many of my ensemble teacher colleagues are guilty of failing to address the standards that relate to composition and improvisation?  I am.

National standards have existed that address both composition and improvisation since 1994.  For more that twenty years, the National Association for Music Education (formerly known as the MENC) has recognized these two skills as essential).  NAfME recognized these two skills so important, they each stood as an individual standard (among nine total).  William Bauer addresses my primary problem in implementing them in the classroom.  "Some teachers, however, have found these creativity standards challenging to implement since their personal background in improvisation or composition was not strong.  Many music educators have also been uncertain about the pedagogy for effectively helping students learn to improvise and compose. (Bauer, p. 46)"  My primary and secondary school experience with composition and improvisation was nonexistent. My undergraduate training in composition and arranging was too advanced to develop a pedagogy for teaching composition to my middle and high school students.  Even in college, I received literally no training in improvisation.

I've used much of the technology addressed in the chapter.  I'm excited to explore the pedagogical implications of this software through the lens this chapter presents.  Looking various activities that make-up improvisation, my choirs already engage in some of these activities as part of their regular rehearsal process.  They regularly "echo rhythm[ic] and tonal patterns... and occasionally... perform familiar melodies and harmonies by ear (Bauer, p. 47)."  As I posted a few days back, I believe that one excellent technological resource I can use to assist students with improvisation is Noteflight.  It would be easy to create and share a repeating blues progression for students to improvise along with using this web application.

Improvisation begins with audiation and is contingent upon the creation of a safe classroom environment.  Kids should be aurally exposed to excellent performances and common pitch/rhythmic combinations.  This aural exposure gives them different aural tools they can use while improvising.  Students need to be comfortable making music to improvise.  The instrument (whether voice, cello, saxophone, percussion, iPad drum pad, Android piano app) can vary.  In the end, however, each student must be willing to take risks.  Without mistakes, the pursuit of excellence rings hollow.

How do you teach creativity?  "Individuals who consistently produce creative works do not just sit around waiting for inspirational ideas to suddenly appear (Bauer, p. 48)."  Simply put: they create!  Have your students create music daily.  Some days, the compositions your students create may be uninspired and forced.  Other days, they will be brilliant.  Creativity is a learned skill.  Develop specific guidelines for student composition to teach specific skills.  As their skill and comfort in compositional techniques and improvisational facility improve, broaden your guidelines.

Noteflight: "A Bicycle Built for Two" and Brief Review

This is A Bicycle Built for Two, notated and embedded in this blog using the free version of an online-based music creation and editing software called Noteflight.  This editing web application has a free version that students can explore, is incredibly flexible and feature-rich (especially considering the base price), and has a number of potential educational uses.  Depending on the size of the school, the cost to implement this software is relatively small (as little as $.78 per student per year).  It requires no installation or setup, only a computer with access to the internet.  It supports MIDI input when using any "full" or "pay" version of the software.  It could easily be used to facilitate lessons in music notation (as it forces students not to exceed the rhythmic constraints of a measure), collaborative music making (as it allows for sharing and group projects), and encourage improvisation (students could improvise with a teacher-created file in a practice room or at home).  I will be introducing this software to our Music Theory teacher at the high school, and will look for ways I can utilize it with my sixth grade general music students for composition.

"A Technology Integration Gap" Indeed!

"While... teachers indicated that their general level of comfort with technology was high, their expressed efficacy with music-specific technologies was more moderate." (Bauer, p. 13)

I am a more than proficient digital user.  As a child of the late 1980's, I remember first using a personal computer as a first grade student.  Family access to a computer, however, was not readily available until I was in the fifth grade.  I have strong memories of utilizing an old electric typewriter to type reports and essays (including the maddening process of using the backspace key in conjunction with typewriter correction paper to fix typing errors).  Since then, I have built computers, followed closely the continued development of technology, worked on the summer technology team for a former employer, recorded student performances, worked with Android and iOS-powered devices, composed and arranged music using Finale, and become a "techie" in my professional and personal circles.  My comfort with technology is great.  My efficacy in the educational deployment of that technology, most specifically the utilization of music technologies in classroom instruction, is lacking.

Examining the statistics shared by Bauer, I was surprised to see the how few music teachers use the computer for their own productivity.  The highest response for any demonstrated activity was 21% (burning CDs).  This was shocking, that is, until I realized that I don't utilize technology in my classroom in most of those ways.  I have done all of the things mentioned (writing and arranging, creating with a sequencer, recording live performances, burning CDs, accompaniment, and digital presentations), but none of them are used regularly.  

Bauer identifies that “being able to use technology effectively requires not only an understanding of technology itself, but also of effective pedagogical approaches for utilizing that technology in a particular content area (p. 16).”  I understand how the aforementioned technologies can be used, but I fail to see how some of them can be effectively be integrated into my classroom.  Many of my colleagues regularly use recordings as a teaching tool, recording their ensembles and playing portions of the recordings back to their students.  This process usually serves to demonstrate a musical concept that was well executed or show that a passage needs further refinement.  This is one technology that I need to practice implementing.  It could be of great use to my students.  I do not have much need to write (except for sight-reading exercises), arrange, or sequence music for classroom use at this time. 

It is my hope that as the depth and breadth of my experience with some of these technologies increases, and my “Technological Content Knowledge (Bauer, p. 18) grows, so will my knowledge of how these technologies can be effectively utilized in my teaching.  I look forward to developing my TPACK, and realizing how the dynamic relationship between technical, pedagogical, and content knowledge can affect my teaching and have a positive effect on my students!

Introduction

I've started this blog as part of a Master's Degree program I'm currently working on.  What form it will eventually become - I do not know!