Music Technology, The Classroom, and the Integration Thereof.

In this modern age, the rate of the evolution of technology is nearly as stunning as the technology.  After reading an article on Music Technology and the incorporation of it into the classroom, found here; I find myself believing that the use of technology in teaching as well as in the field of music is a great aid. 

In this article, the author discusses how it is better to use only few technological “advances” at a time when teaching.  The author puts it as choosing “ONE concept or challenge in or out of the classroom and think about which tools in technology will help you meet the challenge.”  I think this is great advice that will help the students learn while continuing to let the subject of music itself to be the main focus. 

The author of this article also states in his article that “The best rule of thumb about technology is that it is only relevant to you if it helps you educate.”  This statement could state the dangers of “over-teching” the classroom in no better way.  A colleague of mine who wrote about the same article seems to agree.  As an educator the paramount importance is the teaching of music, not the teaching of technology. 

 An example is given in the author’s article as well about communication with parents showing what I consider to be perhaps even a conservative use of technology in the aid of music.  Here is my own:  In my own college education, I have had seemingly endless difficulty with Solfeggio.  No matter how hard I paid attention in class, my test grades would be rather lacklustre in the end of each semester.  After speaking to the professor about advice that he would give my to do better, I decided to purchase a bit of “ear-training” software from a Professor that I located online in Colorado.  I also downloaded a free ear-trainer from online (because as far as Solfegg is concerned, I was a complete wreck, so it would take two programs to teach me). 

I have now been achieving better and better grades in Solfeggio and music technology is the only thing that I have to thank for that.

 

Copyright, Video, and Ensembles

The area of copyright is a rather interesting area of conversation these days.  Copyright seems to especially become a touchy subject when referring to ensembles and the music/performance rights they possess to use and distribute footage of their ensembles or performers.  I was recently asked this question: Are ensembles allowed to film themselves and freely distribute the video to those within the ensemble either “for cost” or at “no cost”? (this text contains a link to the permanent site of the question and assignment.)

I decided to look information to answer this question up on MENC’s (The National Association for Music Educators) because this question pertains particularly to instructors of music.  In the “frequently asked questions” part of the copyright portion of the website, one of the questions is as follows:

         Q: Can our band legally sell videotaped copies of its concerts?

A:  A single copy of a videotaped performance of your ensemble can be made to keep on file for reference or review. If you want to make multiple copies and distribute them, either with or without charge, you will need permission of the copyright owners for each piece of music performed on the videotape. You will also need permission from parents to have their children videotaped.

The website for Bands of America goes so far as to term this license a ”synchronization license.”  It offers a similiar answer to the questions above stating that you must contact those that have authorization to give you permission to make copies of the video and either sell it or give it away free of charge.  This website recommends going to the publisher first. 

 

The solution may seem very simple and it is indeed very simple to call up the publisher (not at all necessarily the composer) and ask for permission.  They could very well say yes, yet they also have the complete right to say no.  Even after your child or friend has gone through all of the practice of learning a new piece of music, they can legally refuse the right for you to provide video copies of the performance that took place in your school auditorium, performed by your child, who’s teacher bought the score legally and has given the publisher his or her own or the schools money.  This really makes no sense to me personally and it is my firm belief that this rule should be promptly changed.  The stipulation should be made however, that in giving out video copies of the performance, that those receiving must not be charged for that indeed would infringe upon obvious rights that the publisher has.  (You would pretty much be cheating them out of their money.)

The fact that you or your child can perform music that was legally bought, yet have to ask the publisher whether or not you may pass out free copies of the actual performing of the music simply makes no sense whatsoever. 

This is another website that contains many rules and regulations of copyright:  http://www.mpa.org/copyright_resource_center/

 

Purchasing a Good Solid Drum Set

There are many, many important things to consider when buying a drum set.  In this post, I will discuss the various aspects of the drum set and what you as the consumer should know when making these sometimes costly purchases.  (www.drummerworld.com)

When buying a drum set, you should first think of what music you will be playing on these drums and cymbals (www.musiciansfriend.com).  Different drums and cymbals offer drastically different sounds to you the drummer as well as your audience.  As far as drums, there are different sizes, materials used in the shells, and different hardware options.  Larger sizes project more, are lower in pitch, and are more often used for rock/country/metal/etc. situations.  Smaller size drums are often just as full of tone, especially in well-made drums, however, they are often used for quieter situations such as jazz where the drums can easily overwhelm the pianist, bass, or saxophone players.  One must be careful and think before a purchase is made on percussion equipment. (www.dwdrums.com)

Cymbals are in my opinion the most worthy of thought and testing as far as purchase.  This is due to the fact that, if there are decent heads, hardware, and shells on the drums, they can be tuned fairly well and hence sound good overall.  With cymbals, this is not the case.  Cymbals are cymbals, what you buy or how much you spend is usually what you get.  Sure the sound will change over time, however, this sound is often for the better.  More money should be considered for investment in cymbals.  The metals used in the making of the cymbal, the lathing, and the hammering will determine the tone color of the cymbal, the loudness, and the length of sustain.  The more money that is spent, generally the better the cymbal will be.  (www.zildjian.com)

 Also, an important aspect of buying a drumset is the money needed in itself.  Percussion equipment is usually not very cheap.  You should have an idea of how much money you are planning on spending before going into the shop and actually making a purchase.  Also, when you go into the shop, you may want to have an experienced percussionist with you to test out and examine the equipment.  This will assure a safe purchase for you and long lasting, great percussion equipment for many gigs to come. (www.samashmusic.com)

 

Music Technology and the Modern Drummer

So you walk in to a concert that you’ve been wanting to go to for about a month now, ever since you bought the tickets.  The band you’re seeing has been touring for close to a year now and they are now endorsing all sorts of great brands of instruments.  The guitarists are playing Gibsons and Taylors, the keyboard player is playing Korgs, and the drummer, the fellow you really came to see because well, you’re a drummer yourself, has got a downright beautiful set of mapa burl DWs.  However, as you look at his set, you notice a white laptop off to his left.  Not only this, but you also see various “triggers” attached to his drums.  These things offer various electronically processed sounds and loops that can be played.  You notice this as you hear sounds that drums cannot make as well as percussive sounds coming from the speakers when the drummer isn’t even playing.  You leave the show with newfound knowledge that you have never seen or heard before, and on the way home, you pick up a Mac computer and DDrum triggers for your kit. 

 

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