Course Profile Music (AMU4M), Grade 12, University/College
Preparation, Catholic and Public
Unit
5: Music and Technology
Time: 20 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
| Activity 5
Unit
Description
Expectations
representing the three strands (Theory, Creation, and Analysis) related to the
study of music and technology are clustered to form this unit. Students gain
further understanding of advanced concepts of sequencing, notation software,
analog, and/or digital recording, and the use of the Internet. Students have
the opportunity to apply their knowledge to composition, arranging, listening
and analysis, and improvisation activities. The impact of new technologies in
music creation and distribution in society are also addressed. This unit
involves five activities including listening and analysis, music in society,
composing and arranging, performance, and a culminating activity. An overall
theme can be developed for the culminating webpage/slideshow/interactive CD
that can help focus students while they develop the product.
|
Activity |
Learning
Expectations |
Assessment
Categories |
Tasks |
|
1. 2 hours |
ANV.01, THV.03, TH2.01, TH2.02, TH2.03, TH2.04, AN1.02 |
Knowledge/ Understanding Thinking/ Inquiry Communication |
Students import selections of |
|
2. 3 hours |
THV.03, TH2.03, TH2.04, ANV.04, ANV.05, AN1.08, AN1.09 |
Knowledge/ Understanding Thinking/ Inquiry Communication |
Students investigate an Internet site distributing MIDI, WAV, and/or MP3 files of a specific type or genre, and create a report outlining the economic, technological, and social aspects including: the target audience, distribution methods, business considerations, strengths and weaknesses, financial considerations (ads, cost), and copyright issues. |
|
3. 4 hours |
THV.02, THV.03, TH2.01, TH2.02, CRV.03, CRV.04, CR2.01,
CR2.02, CR2.04 |
Knowledge/ Understanding Thinking/ Inquiry |
Students use notation software to produce a highly detailed score and parts for the composition they created in Unit 2- Composing and Arranging: Activity 8. |
|
4. 5 hours |
THV.03, TH2.01, TH2.02, CRV.04, CR2.01, CR2.03 |
Knowledge/ Understanding Thinking/ Inquiry Communication |
Students rehearse the piece published in Activity 3 of this unit, receiving feedback from the teacher and peers. Students use advanced recording/sequencing and editing techniques to produce a quality CD or cassette copy of their performance. |
|
5. 6 hours |
THV.03, TH2.01, TH2.02,
TH2.03, TH2.04, CRV.03, CRV.04, CR2.01, CR2.04, CR2.05, ANV.04, ANV.05, AN1.08,
AN1.09 |
Knowledge/ Understanding Thinking/ Inquiry Communication |
Students create pages for a class website, slideshow, or other electronic medium. Pages include a means of sharing/publishing their recorded composition from Activity 4 of this Unit, and a visual presentation intended to complement the emotional impact of the music. |
Time: 2 hours
Students
use
CGE4f -
applies effective communication, decision-making, problem-solving, time and
resource management skills;
CGE5e -
respects the rights, responsibilities, and contributions of self and others;
CGE5g -
achieves excellence, originality, and integrity in one’s own work, and supports
these qualities in the work of others;
CGE7b - a
Overall
Expectations
THV.03 -
describe the use of technology in music research, in performance and
composition, and in the distribution of music;
ANV.01 -
analyse and evaluate music from the romantic period and the 20th century,
including art music, jazz, popular music, and Canadian and non-Western music.
Specific
Expectations
TH2.01 -
explain the use of advanced editing techniques in sequencing and notation;
TH2.02 -
explain the use of the Internet in music research and composition;
TH2.03 -
demonstrate knowledge of the different methods of music distribution;
TH2.04 -
demonstrate an understanding of legal aspects of playing, recording, and taping
music, and of photocopying musical material;
AN1.02 -
analyse live and/or recorded performances of music following standard
procedures in critical analysis.
·
Basic
aural skills and visual identification skills related to the analysis of music
are necessary.
·
Familiarity
with the effective and ethical use of the Internet is essential.
·
Basic
skills in
·
Basic
independent research and presentation skills are necessary.
·
The
teacher ensures that students develop the knowledge, skills, and attitudes that
will allow them to use this computer technology effectively, confidently, and
ethically.
·
This
activity is designed to complement the activities contained in Unit 3 Listening
and Analysis.
·
A
·
A
computer lab with Internet a
·
·
The
teacher should ensure that students are using appropriate websites.
·
The
teacher should prepare a handout listing appropriate musical selections,
including suggested methods of acquisition. Students should consult this list
when conducting their search on the Internet.
1. The teacher hands out Appendix 5A –
Comparison Chart. The teacher plays a recorded version of an excerpt of a
composition from the 19th or 20th century, followed by a
2. The teacher demonstrates the use of the
Internet to find, play, and download
(see Appendix 5B – Finding MIDI Files).
3. Students conduct a search for their assigned
composition/composer. The selections should be chosen from recordings available
in the classroom audio library, with the focus of study based on those used in
the Listening and Analysis (Romantic, 20th century) Unit.
4. Students use the Internet to find, listen to,
and save a selection of
5. Based on the downloaded files, students use
their knowledge of the elements of music to choose the best
6. Students listen to an acoustically recorded
version of the same composition.
7. Students use Appendix 5A – Comparison Chart
as a guide when comparing the two selections.
8. Students complete a response journal based on
the relative merits of electronic versus traditional musical performances.
·
Teacher
feedback
·
Comparison
Chart
·
Response
Journal
·
Students
may work with a partner, pairing a strong music student with a strong
technology student.
·
Repeat
listening examples if the need arises.
·
Allow
additional time.
·
Students
with advanced skills in music technology could produce a CD with side-by-side
excerpts from the
·
Use
of on-line and software “Help” can be taught and encouraged.
|
Classical Music |
– http://midiworld.com/classic.htm |
|
|
– http://www.classicalarchives.com/ |
|
Marches |
–
http://www.geocities.com/Pentagon/Base/7885/marches.htm |
|
Jazz |
–
http://www.jayp.net/jukebox/jazz.htm |
|
|
–
http://www.rats2u.com/clipart/animation/midi_jazz.htm |
|
Pop |
–
http://www.angelfire.com/ok/magicofmusicals/midi.html |
|
|
–
http://members.tripod.com/midi_delight/ |
|
Education Network of |
– http://www.enoreo.on.ca/musi |
|
The |
– http://nav.webring.yahoo.com/hub?ring=midi&list |
|
Music Education Online |
– http://www.musiceducationonline.org/links/linxtech.html |
Appendix
5A – Comparison Chart
Appendix
5B – Finding
Time: 3 hours
Students
investigate an Internet site distributing
CGE2b -
reads, understands, and uses written materials effectively;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE4b -
demonstrates flexibility and adaptability;
CGE5a -
works effectively as an interdependent team member;
CGE7b - a
Overall
Expectations
THV.03 -
describe the use of technology in music research, in performance and
composition, and in the distribution of music;
ANV.04 -
analyse the relationship between music and its cultural context;
ANV.05 -
demonstrate an understanding of possibilities for postsecondary studies and for
careers in music.
Specific
Expectations
TH2.03 - demonstrate knowledge of the different
methods of music distribution;
TH2.04 -
demonstrate an understanding of legal aspects of playing, recording, and taping
music, and of photocopying musical material;
AN1.08 -
explain how current social, economic, and technological factors affect the
performance, composition, and production and distribution of music;
AN1.09 -
analyse the impact of the arts, especially of music, on the local economy, the
·
Familiarity
with the effective and ethical use of the Internet is essential.
·
Basic
skills in
·
Basic
independent research and presentation skills are necessary.
·
The
teacher ensures that students develop the knowledge, skills, and attitudes that
will allow them to use this computer technology effectively, confidently, and
ethically.
·
The
teacher should be prepared to discuss the ethical issues around the music
industry from the point of view of Catholic social teaching.
·
This
activity is closely linked to Unit 4, Music in Society.
·
A
·
A
computer lab with an Internet a
·
·
The
teacher should ensure adequate supervision of students who are working
independently.
·
The
teacher should ensure that student groups choose a range of websites, focusing
on local, regional, and national Internet sites, as well as sites of particular
cultural interest, and non-Western music.
1. The teacher guides the class in a
brainstorming session concerning the various types of Internet sites related to
music, e.g., commercial record company sites, genre specific sites, band
specific sites, music distribution, MP3, etc.
2. The teacher chooses a site and leads the
class in a discussion about its economic, technological, and social aspects as
well as the ethical issues around the music industry from the point of view of
catholic social teaching.
3. Students organize themselves into groups of
three. One member of the group focuses on the social aspects of the site
(target audience, purpose), another on the economic aspects (advertising,
costs), and the third on the technological aspects (file types, transferring
processes).
4. After being assigned a specific genre, the
group a
5. Students use the selected Internet site as a
basis for their investigation of the assigned criteria.
6. Students share their findings with the other
group members.
7. The group prepares and presents their
findings to the class. A one-page synopsis, which is distributed to the other
class members, is required from each group.
8. Students
review their findings with regard to technical, economic, and social
implications of the electronic media. Particular focus is placed on the effects
that Internet a
9. Students use their response journal as a tool
for reflection about their roles as group members.
·
Teacher
feedback
·
Classroom
presentation
·
Observation
·
Journal
writing
·
Allow
additional time.
·
Encourage
students to question for clarification and additional information.
·
Students
with limited experience/knowledge could be paired with a more experienced peer.
·
On-line
and software “Help” is available.
·
Reinforce
oral instruction with written or visual cues.
·
Checklists
can be used as a tracking tool.
The
following links will direct the student to a range of sites for each of the
listed genres:
|
Recording Industry |
|
|
Canadian Recording Industry Association |
– http://www.cria.ca |
|
MP3 Sites |
|
|
MP3 Online |
– http://www.digistar.mb.ca/nl/mp3links.htm |
|
Artist/Band Sites |
|
|
Pop Music Search Site |
– http://ubl.artistdirect.com/ |
|
Various Genres |
|
|
Sympatico Music |
– http://music.sympatico.ca/genres.html |
|
Retail Music Stores |
|
|
AllMusicStores.Com |
– http://www.allmusicstores.com/index.html |
|
World Music |
|
|
Roots World |
– http://www.rootsworld.com/rw/ |
Print
Klein,
Naomi. No Logo.
Time: 4 hours
Using the
composition created in Unit 2 - Composing and Arranging, Activity 8, students
add performance parameters, e.g., dynamics, tempo changes, phrasing, layering,
rehearsal marks, to a score and parts in preparation for final arrangement,
publication, and performance.
CGE4e - sets appropriate goals and priorities
in school, work, and personal life;
CGE4f -
applies effective communication, decision-making, problem-solving, time and
resource management skills;
CGE7b - a
Overall
Expectations
THV.02 -
demonstrate the ability to notate complex rhythmic patterns, melodies, and
chords a
THV.03 -
describe the use of technology in music research, in performance and
composition, and in the distribution of music;
CRV.03 -
compose and/or arrange musical works, showing an understanding of the creative
process;
CRV.04 -
use music technologies appropriately in composing, editing, and performing, and
in distributing their creative work.
Specific
Expectations
TH2.01 -
explain the use of advanced editing techniques in sequencing and notation;
TH2.02 -
explain the use of the Internet in music research and composition;
CR2.01 -
compose and/or arrange simple homophonic compositions in four or more parts,
using technology where appropriate;
CR2.02 -
compose a simple piece in a twentieth-century style using appropriate
techniques and appropriate technology;
CR2.04 -
demonstrate an understanding of all stages of the creative process in producing
compositions and/or arrangements.
·
Basic
aural skills and visual identification skills related to the analysis of music
are necessary.
·
Basic
skills in
·
The
teacher ensures that students develop the knowledge, skills, and attitudes that
will allow them to use this computer technology effectively, confidently, and
ethically.
·
This
activity is designed to complement the activities contained in Unit 2 -
Composing and Arranging, Activity 8.
·
A
·
·
The
teacher should ensure adequate supervision of students working independently.
·
The
teacher needs to be familiar with the capabilities of the notation software to
be used in this exercise. Please refer to Appendix 5C – A Guide to Advanced
Notation Software, for a glossary of terms.
·
For
review, the teacher may want to find an audio performance of the sample score
and discuss how the detailed editing improves the expressiveness of the piece.
·
The
catalogue of class pieces will be included in the webpage/slide show in
Activity 5.
·
The
teacher may wish to a
1. The teacher reviews basic note entry and
editing skills with the class.
2. The teacher loads a short
3. The teacher demonstrates the editing process.
Students follow along and edit their copies of the sample score.
4. Students enter their score into the notation
software using basic entry skills and print a draft copy.
5. Students share their scores within a small
group setting. The group considers possible interpretations for the pieces
using Appendix 5D – Advanced Notation Worksheet. A final version of each group
member’s piece is created.
6. Students complete the editing of their basic
score in preparation of submission to the teacher for evaluation using the
rubric (Appendix 5E – Advanced Scoring Evaluation Rubric).
7. The student creates, edits, and prints the
parts from the score. These, too, are evaluated using the rubric.
8. Students prepare a catalogue of all the
pieces prepared by the class in the style of a movie rating, best seller list,
etc. This catalogue includes a short description of the piece, its possible
use, and playing difficulty.
·
Teacher
feedback
·
Peer
and self-assessment
·
The
class catalogue (TL#8)
·
Rubric
·
Students
may work with a partner, pairing a strong music student with a strong
technology student.
·
Allow
additional time as required.
·
Students
with advanced skills in music technology could produce a CD with side-by-side
excerpts from the
·
On-line
and software “Help” is available.
·
Repeat
listening examples as required.
|
Composers in Electronic Residence |
– http://www.edu.yorku.ca/CIERmain.html |
|
Finale Notepad Freeware Notator |
– http://www.codamusic.com/coda/np.asp |
Appendix
5C – A Guide to Advanced Notation Software
Appendix
5D – Advanced Notation Worksheet
Appendix
5E – Advanced Scoring Evaluation Rubric
Time: 5 hours
Students
rehearse the piece published in Activity 3 of this unit, receiving feedback
from the teacher and peers. Students will use advanced recording/sequencing and
editing techniques to produce a quality CD or cassette copy, and a digital (
CGE2c -
presents information and ideas clearly and honestly, and with sensitivity to
others;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE4b -
demonstrates flexibility and adaptability;
CGE5e -
respects the rights, responsibilities, and contributions of self and others;
CGE5g -
achieves excellence, originality, and integrity in one’s own work and supports these
qualities in the work of others.
Overall
Expectations
THV.03 - describe the use of technology in
music research, in performance and composition, and in the distribution of
music;
CRV.04 -
use music technologies appropriately in composing, editing, and performing, and
in distributing their creative work.
Specific
Expectations
TH2.01 -
explain the use of advanced editing techniques in sequencing and notation;
TH2.02 -
explain the use of the Internet in music research and composition;
CR2.01 -
compose and/or arrange simple homophonic compositions in four or more parts,
using technology where appropriate;
CR2.03 -
improvise melodies within given parameters.
·
Basic
aural skills and visual identification skills related to the analysis of music
are necessary.
·
Familiarity
with the effective and ethical use of the Internet is essential.
·
Basic
skills in
·
Basic
independent research and presentation skills are necessary.
·
The
teacher ensures that students develop the knowledge, skills, and attitudes that
will allow them to use this computer technology effectively, confidently, and
ethically.
·
Conducting
skills, which have been developed in the Listening/Analysis unit, will be
utilized in this unit.
·
A
familiarity with basic recording techniques is required.
·
The
student composition from Activity 3 of this unit is used in this activity.
·
A
·
·
The
teacher should ensure adequate supervision of students working independently.
·
The
exact parameters outlined for inclusion in the assignment (Appendix 5F – Audio
Recording Manual) are software and hardware specific, and therefore, vary from
classroom to classroom. The teacher should investigate the advanced techniques
available locally and include them in an Audio Recording Manual developed
independently by the teacher or edited from Appendix F – Audio Recording
Manual, or from the manual available in the software or on-line.
·
If
this Activity is to be used as a “stand alone” activity, other small ensemble
repertoire may be used for student performance and recording in place of the
student composition from Activity 3.
·
Although
the intention of this activity is to use digital media, analog equipment may be
used. It would be possible, for example, to have a student write music for a
short video excerpt and record their music as an audio track.
1. Students practise conducting the arrangement
of their compositions from Activity 3 with a small ensemble of appropriate
instrumentation.
2. The teacher distributes Appendix F – Audio
Recording Manual and outlines the process and considerations required for audio
recording with particular emphasis on advanced techniques, e.g., Stereo recording,
adding reverb/echo, equalization, etc.
3. The teacher demonstrates the process by
recording the class and carrying the process through to the completion of the
final product in the desired medium.
4. Students prepare the recording equipment and
conduct their compositions as the ensemble is being recorded.
5. Students complete the final mix-down adding
features available in the specific hardware/software that are appropriate for
their composition.
6. Students create an audio recording (CD or
cassette) and/or a digital file (WAV, MP3, or
·
Teacher
feedback
·
Response
Journal
·
Peer
feedback
·
Students
may work with a partner, pairing a strong music student with a strong
technology student.
·
Allow
additional time.
·
Use
of on-line and software “Help” can be taught and encouraged.
|
Cool Edit Freeware Recorder |
– http://www.cooledit.com |
|
The Association of Professional Recording Services |
– http://www.aprs.co.uk/ |
|
Audio Engineering Society |
– http://www.aes.org/ |
|
The Music Producers Guild |
– http://www.mpg.org.uk/ |
|
Sound Engineers Guild |
– http://www.695.com |
|
Audiomedia Web magazine dealing with sound and recording |
– http://www.audiomedia.com/ |
|
Education Network of |
– http://www.enoreo.on.ca/musi |
|
Windows Recorder/Mixer Tips |
– http://www.cakewalk.com/Support/Lessons/WindowsMixer.htm |
Appendix
5F – Audio Recording Manual
Time: 6 hours
Students
create pages for a class website, electronic slide show, or interactive CD.
Consideration is given to the design, promotion, and distribution of the
musical material they have created in preceding activities. Using the catalogue
developed in Activity 3 as a template/index, a webpage/slideshow/CD including
all students’ works is created. Students choose artwork and visuals to be
included in the presentation of their particular piece. This artwork should
reflect the particular mood, feeling, or atmosphere evoked by their
compositions. These images can, depending on the software/hardware, be timed to
coincide with particular events in the music.
CGE2a -
listens actively and critically to understand and learn in light of gospel
values;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE4b -
demonstrates flexibility and adaptability;
CGE4f -
applies effective communication, decision-making, problem-solving, and time and
resource management skills;
CGE5g -
achieves excellence, originality, and integrity in one’s own work and supports
these qualities in the work of others.
Overall
Expectations
THV.03 -
describe the use of technology in music research, in performance and
composition, and in the distribution of music;
ANV.04 -
analyse the relationship between music and its cultural context;
ANV.05 -
demonstrate an understanding of possibilities for postsecondary studies and for
careers in music;
CRV.03 -
compose and/or arrange musical works, showing an understanding of the creative
process;
CRV.04 -
use music technologies appropriately in composing, editing, and performing, and
in distributing their creative work.
Specific
Expectations
TH2.01 -
explain the use of advanced editing techniques in sequencing and notation;
TH2.02 -
explain the use of the Internet in music research and composition;
TH2.03 -
demonstrate knowledge of the different methods of music distribution;
TH2.04 -
demonstrate an understanding of legal aspects of playing, recording, and taping
music, and of photocopying musical material;
CR2.01 -
compose and/or arrange simple homophonic compositions in four or more parts,
using technology where appropriate;
CR2.04 -
demonstrate an understanding of all stages of the creative process in producing
compositions and/or arrangements;
CR2.05 -
promote and distribute student compositions and/or arrangements, using
appropriate technology;
AN1.08 -
explain how current social, economic, and technological factors affect the
performance, composition, and production and distribution of music;
AN1.09 -
analyse the impact of the arts, especially of music, on the local economy, the
·
This
unit relies on the knowledge, skills, and attitudes developed in all the
previous activities of this unit.
·
Familiarity
with the effective and ethical use of the Internet is essential.
·
Basic
independent research and presentation skills are necessary.
·
The
teacher ensures that students develop the knowledge, skills, and attitudes that
will allow them to use the computer technology effectively, confidently, and
ethically.
·
A
computer lab with Internet a
·
·
The
teacher must take responsibility for the overall format of the
webpage/slideshow/CD.
·
The
completed individual student websites and/or the class website could be linked
to student compositions and performance sites on the Internet, e.g., Education
Network of Ontario’s MusicCyberfest.
1. Students meet together as a class to discuss
and agree upon the unifying theme and goals for the webpage/CD/slideshow and
ways of assuring the su
2. A tracking sheet is developed by the group to
ensure the timely completion of the project.
3. Students find art work (on the Internet,
magazines, scanned copies of peer work), reflecting the particular mood,
feeling, or atmosphere evoked by their composition.
4. Students create the slides/webpage(s), which
complement their composition (Activities 3 and 4). Included on the
slides/page(s) are the compositions’
5. Students test market their pages to students
not in the music class. These students are asked to assess the product on a
rating scale (Appendix 5H – Market Assessment).
6. Students consider the non-music student
reaction to the presentation prior to the compilation of their final product.
The student is given time to rework their composition based on the feedback.
7. The teacher aids students in the amalgamation
of their works with that of other students, to create a unified product
(website, slideshow, installation).
8. The teacher uses Appendix 5G – Culminating
Task Evaluation Rubric to evaluate the activity.
·
Teacher
feedback
·
Self-assessment
(comparing their written intentions to the reactions of the other class members
and those of the non-class members).
·
Allow
additional time if required.
·
On-line
and software “Help” is available.
|
Website Design Basics |
– http://www.sentex.net/~sfinlay/e3web/basics.html |
|
|
Web Design Tutorial |
– http://www.dreamink.com |
|
|
Education Network of |
– http://www.enoreo.on.ca/musi |
|
Appendix
5G – Culminating Task Evaluation Rubric
Appendix
5H – Market Assessment
|
Piece: |
Composer: |
|
Element Of Music: |
Acoustic Recording: |
|
|
Rhythm |
|
|
|
Texture |
|
|
|
Harmony |
|
|
|
Orchestration |
|
|
|
Melody |
|
|
|
Dynamics |
|
|
|
Form |
|
|
|
General Observations |
|
|
Acoustic
recordings of the following pieces are available in our library:
|
Piece |
Composer |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Choose
one and download a few
·
Connect
to the Internet, using the browser you normally use (Netscape, Explorer, AOL,
etc.)
·
You
can go directly to a known site by typing the “URL” for the site (e.g.,
www.something_or_other.com), and start looking for music. Some good sites to
start with are:
|
Classical Music |
– http://midiworld.com/classic.htm – http://www.classicalarchives.com/ |
|
Marches |
–
http://www.geocities.com/Pentagon/Base/7885/marches.htm |
|
Jazz |
– http://www.jayp.net/jukebox/jazz.htm –
http://www.rats2u.com/clipart/animation/midi_jazz.htm |
|
Pop |
–
http://www.angelfire.com/ok/magicofmusicals/midi.html –
http://members.tripod.com/midi_delight/ |
·
If
you don’t know where to find your music selection, go to your favourite “search
engine” (Yahoo, Altavista, WebCrawler, Google) and type in MIDI as well as the
type of music for which are looking (e.g., if I wanted jazz, in the search area
I’d type “MIDI jazz.” The search engine will then give you a list of websites
you could visit to find the music for which you are looking.
·
Listen
to several versions of the files you have found. To listen to each, just
left-click with your mouse on the song file, and in a few moments, your
computer will automatically begin to play the music for you through your
computer speakers or headphones
·
You
will require a version that is as a
·
Left-click
on “save file as,” and then save it to your computer or floppy.
This
guide is intended to summarize some of possibilities available to you for
editing and arranging music using a notation program. Depending on the program
you are using, you may have available all of the tools described below, or only
a limited number. You will also have tools which are not described in this
handout, but which you may find useful. Use your software documentation, as
well as “tutorial” and “Help” guides to determine the capabilities of your
software.
|
Active Dynamics |
Almost all notation programs allow you to listen
to the score as a |
|
Active repeats |
Some notation programs allow active repeats, including standard repeats, repeat bars, DC al Fine, DC al Coda, etc., which will exist as notation symbols and control the playback of a piece of music. |
|
Cut, Copy, Insert, Paste |
The same basic editing commands that are used in other computer applications, including word processors and spreadsheets, will work with most notation software, e.g., left click and drag to select a section of your work, Control-C to copy, Control-V to paste, etc. |
|
Layering |
Layering allows multiple “layers” of notes with different rhythmic values to share the same staff. This is useful for scoring 1st, 2nd, and/or 3rd parts on the same staff, or for percussion parts displaying more than one instrument. |
|
Layout tool |
The layout tool is used to control the overall appearance of your piece, including margins and relative position of staves. Use this tool to make your final printed copy more “playable.” |
|
Looping |
Certain recurring musical patterns, including percussion rhythms, can be set up as “loops” or repeating patterns. |
|
Lyrics tool |
Most notation programs include an intelligent lyrics tool which will automatically align lyrics with melody as they are typed in. |
|
Mirroring |
Sections of a staff or score that are closely related can be linked, or “mirrored,” so that changes made to one mirrored segment are automatically made to all the linked segments. |
|
Multi-Measure Rests |
When separating a composition into parts from the score, you are able to control the appearance of multi-measure rests to avoid wasted paper and improve the appearance of your finished product. |
|
Paste, forms of |
There are several ways to “paste” in most notation programs and sequencers, including “replace entries,” which erases what is on the staff and replaces it; “move over,” which inserts your entry, and slides existing entries to the left; and “blended” or “layered” entries (See Layering). |
|
Phrasing |
Markings for phrasing, including ties and longer phrase markings, can be “stretched” as long as the user wishes. In some programs, these marking are “active” (See Active Dynamics). |
|
Pitch to |
An increasing number
of notation and sequencing programs will allow students to record their
acoustic instruments, using a microphone hooked to the computer sound card,
changing the acoustic sound into |
|
Quantize |
Students who have used “real time entry” from a |
|
Special Noteheads |
Special Noteheads (or fonts) displays varied noteheads for percussion, as well as specially sized or shaped notes, grace notes, cue notes, etc. |
|
Stem Direction |
Use this to “freeze” the stem direction of parts either up or down. Useful in percussion or multi-part staves (See Layering). |
|
Text tool |
Used to add text to you composition, this tool usually includes templates for title, composer, arranger, part, and copyright information. |
|
Name |
Date |
|
Composition |
Style/Technique |
|
Meets guidelines of Basic Notation Software Mastery Checklist q |
|
|
At this point, you have used your notation software to
enter your basic score. Your task now is to use the advanced features of your
notation software to produce both a high quality printable sheet music
version of your score and parts, and a |
|
|
Reviewer #1: |
Date: |
|
Refer to Appendix 5C, A Guide to Advanced Notation Software, providing review and suggestions for final scoring and printing: |
|
|
Reviewer #2: |
Date: |
|||
|
Refer to Appendix 5C, A Guide to Advanced Notation Software, providing review and suggestions for final scoring and printing: |
||||
|
Composer: Final Decisions: |
Date: |
|||
|
Outline the advanced tools you plan to use in the final published version of your piece, explaining why you have chosen to use those particular editing features: |
||||
|
Advanced Editing Features: |
||||
|
Active Dynamics |
q |
Active Repeats |
q |
|
|
Phrasing and Articulation Markings |
q |
Layering |
q |
|
|
Mirroring |
q |
Text: Lyrics, Attributions… |
q |
|
|
Special Noteheads, Note Fonts |
q |
Use of Cut, Copy, Paste… |
q |
|
|
Layout/Multi-Measure Rest |
q |
Real Time Note Entry, Quantizing |
q |
|
|
Pitch to |
q |
Other Features:………………………… |
q |
|
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (69-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Understanding The parts are correctly formatted for the particular instrument and performance. (Transposition, note type, multi-bar rests, etc.) |
- limited numbers of parts are correctly formatted for the particular instrument and performance |
- some of the parts are correctly formatted for the particular instrument and performance |
- the parts are correctly formatted for the particular instrument and performance |
- the parts are correctly formatted for the particular instrument and performance and extra details are added to help in performance, e.g., cue notes |
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (69-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Understanding The score and parts exhibit correct and complete
labelling of parts, sections, copyright, page numbers, etc. |
- exhibits a limited number of correct and complete labelling of parts, sections, copyright, page numbers, etc. |
- exhibits some of the correct and complete labelling of parts, sections, copyright, page numbers, etc. |
- exhibits correct and complete labelling of parts, sections, copyright, page numbers, etc. |
- exhibits all or most correct and complete labelling of parts, sections, copyright, page numbers, etc. |
|
Thinking/Inquiry The score and parts exhibit use of layered parts for clarification. |
- exhibits limited use of layered parts for clarification |
- exhibits some use of layered parts for clarification |
- exhibits considerable use of layered parts for clarification |
- exhibits extensive use of layered parts for clarification |
|
Communication The added details contribute to the musicality of the piece. |
- contributes little to the musicality and effectiveness of the piece |
- contributes somewhat to the musicality of the piece |
- contributes considerably to the musicality of the piece |
- contributes greatly to the musicality of the piece |
|
Application The score and parts exhibit use of appropriate, and detailed dynamics. The score and parts exhibit appropriate use of phrasing notation. The parts a |
- exhibits limited dynamic indications that have limited effectiveness - exhibits limited use of phrasing notation - demonstrates parts that reflect the complete details
in the score with limited a |
- exhibits some effective dynamic indications - exhibits some use of phrasing notation - demonstrates parts that reflect the complete details
in the score with some a |
- exhibits considerable, effective dynamic indications - exhibits considerable and appropriate use of phrasing notation - demonstrates parts that reflect the complete details
in the score with considerable a |
- exhibits extensive dynamic indications that greatly contribute to the effectiveness of the piece - exhibits extensive and appropriate use of phrasing notation - demonstrates parts that reflect the complete details
in the score with a high degree of a |
Note: The student whose achievement is
below Level 1 (50%) has not met the expectations for this assignment or
activity.
In
addition to the basic features of record and play, you can use your digital
recording device or recording/sequencing program to improve your recording in a
number of ways. Some of the most useful are listed below. In addition, don’t be
afraid to experiment with some of the more exotic features; just remember to
keep a copy of your original “master recording” somewhere safe, in case you
need to start over.
|
Ambient Sound |
Ambient Sounds are the background sounds (florescent lights, computer fans, etc.) that exist in a recording environment. Try to limit these in your recording setting, and use Noise Reduction to eliminate them from your recording |
|
Amplitude, Amplify |
Amplitude tools control aspects of volume. This category of tools will allow you to “boost” or “cut” the overall volume of a recorded track, or any section of that track. It can also be used to “fade in” and “fade out.” Other amplitude tools include Dynamic Envelope and Normalize, both referring to pre-set amplification patterns. |
|
Chorus |
See Delay effects |
|
Cut, Copy, Insert, Paste |
The same basic editing commands that are used in other computer applications, including word processors and spreadsheets, will work with most recoding and sequencing software, e.g., left click and drag to select a section of your work, Control-C to copy, Control-V to paste, etc. This can be used to cut out periods of silence before, after, and during your recording, and to perform a wide range of imaginative editing techniques. These tools are especially helpful when using a multi-track recorder or sequencing program. There are a number of specialized paste functions, which will allow overlapping and cross-fading between tracks. |
|
Delay Effects |
Delay effects all have to do with producing an Echo that will play concurrently with your original recording, usually giving it a fuller sound. Delay control parameters are most often expressed in milliseconds. Anything over 35 milliseconds will be perceived as a distinct echo or echo chamber effect, while those between 15 and 35 milliseconds are referred to as chorus, flanging, or reverb. Your recording utility will probably have a range of pre-sets for all of these effects. |
|
Distortion |
Distortion is used to mimic a range of acoustic and electronic amplification effects, such as 50’s mic, muffled mic, bullhorn, tube-amp emulation, and various electric guitar effects, such as feedback, fuzz, and overdrive. |
|
Dynamic envelope |
See Amplitude |
|
Echo, Echo Chamber |
See Delay effects |
|
Equalizer |
The equalizer is used to control the volume and intensity of specific frequencies, or “bands” in your recording. For example, it can be used to emphasize the bass sounds in your recording, or to bring out the middle voices. See also filters. |
|
Filters |
A selection of pre-set values in your recording utility that will filter out certain frequencies of sound. Hiss filters will take out that high, hissing, “cassette-tape” type sound, while hum filters will help remove unwanted low-frequency sounds. Filters can also be used to boost or cut bass or treble sound. |
|
Flanging |
See Delay effects |
|
Hiss |
See Filters |
|
Hum |
See Filters |
|
Multi-track |
Technically, any program that will record and
process more than one track of sound is “multi-track.” However, the
term is usually used for recorders and programs that deal with four or more
discrete music tracks. Most current |
|
Noise Reduction |
Noise reduction allows you to reduce or eliminate background noise in your composition. Some programs allow you to “sample” a period of silence on your recording to determine the level of ambient sound, using this as a starting point for noise reduction. Experiment with levels of noise reduction; too much can have an unpleasant effect on your recording. |
|
Normalize |
See Amplitude |
|
Reverb |
See Delay Effects |
|
Stereo Effects |
Stereo Effects allows you to choose which speaker channel(s) to send a track of music to. You can choose left, right, or left and right. Some sequencing programs will allow you to move or slide the same voice back and forth from left to right. |
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Understanding The student demonstrates an understanding of the use of advanced technology in notating music. The student demonstrates understanding in advanced sequencing techniques. The student demonstrates an understanding of the advanced recording techniques. |
- demonstrates limited understanding of advanced music technology - demonstrates limited understanding in advanced sequencing techniques - demonstrates a limited understanding of the advanced recording techniques |
- demonstrates some understanding of advanced music technology - demonstrates some understanding in advanced sequencing techniques - demonstrates some understanding of the advanced recording techniques |
- demonstrates considerable understanding of advanced music technology - demonstrates considerable understanding in advanced sequencing techniques - demonstrates considerable understanding of the advanced recording techniques |
- demonstrates extensive understanding of advanced music technology - demonstrates extensive understanding in advanced sequencing techniques - demonstrates an extensive understanding of the advanced recording techniques |
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Thinking/Inquiry The student’s work demonstrates an understanding of the process of composition. The student’s work exhibits facility in using the music technology during the composition process. |
- demonstrates a limited understanding of the process of composition - exhibits limited facility in using the music technology during the composition process |
- demonstrates some understanding of the process of composition - exhibits some facility in using the music technology during the composition process |
- demonstrates considerable understanding of the process of composition - exhibits considerable facility in using the music technology during the composition process |
- demonstrates a thorough understanding of the process of composition - exhibits extensive facility in using the music technology during the composition process |
|
Communication The student work reflects the theme and goals outlined by the class. The student effectively explains the goals and process in the written work. |
- reflects the theme and goals outlined by the class with limited effectiveness - explains the goals and process in the written work marginally |
- reflects the theme and goals outlined by the class with some effectiveness - explains the goals and process in the written work with some effectiveness |
- reflects the theme and goals outlined by the class with considerable effectiveness - explains the goals and process in the written work effectively and with detail |
- reflects the theme and goals outlined by the class clearly and effectively - explains the goals and process in the written work effectively and with thorough detail |
|
Application The student effectively uses the creative process in completion of the work. The student demonstrates facility in integrating the various technologies in producing a final product. |
- uses the creative process in completion of the work with limited effectiveness - demonstrates limited facility in integrating the various technologies in producing a final product |
- uses the creative process in completion of the work with some effectiveness - demonstrates some facility in integrating the various technologies in producing a final product |
- uses the creative process in completion of the work effectively - demonstrates considerable facility in integrating the various technologies in producing a final product |
- makes thorough and effective use of the creative process in completion of the work - demonstrates extensive facility in integrating the various technologies in producing a final product |
Note: The student whose achievement is
below Level 1 (50%) has not met the expectations for this assignment or
activity.
Student:
______________________________________
Composition:
______________________________________
Assessor’s
Name: ______________________________________
Please
assess all aspects of the webpage under the following criteria:
|
|
Agree |
|
|
|
Disagree |
|
Music is interesting to listen to |
1 |
2 |
3 |
4 |
5 |
|
Music is easy to a |
1 |
2 |
3 |
4 |
5 |
|
Considerable detail in visual presentation |
1 |
2 |
3 |
4 |
5 |
|
Music and visuals seem connected |
1 |
2 |
3 |
4 |
5 |
|
Written material clearly explains the intent of the page |
1 |
2 |
3 |
4 |
5 |
|
Different/Original |
1 |
2 |
3 |
4 |
5 |
What one
sentence would you use to best describe the overall mood of the piece?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
How do
the visual features of the site complement the music?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
What
other visual ideas/cues does this music evoke for you? Could they be effectively
added to the site?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
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