Technology in the context of music performance, especially in an ensemble setting, is something that might strike the reader as cognitively dissonant. But there are a number of practical applications for technology, even in the ensemble setting, which we examined in this week's module. Many of these are ones I would consider applying to my own academic setting and curricular context.
But before discussing more on technology, we should first examine the basics of musical practice, starting with the fundamental acquisition of knowledge and skills that are necessary for adequate music performance. As the text notes, "the content of early lessons is crucial" when it comes to forming solid foundation for students in music as a whole, and especially for instilling a sense of proper etiquette for performance (Bauer, 2014, p. 80). In laymen’s terms, this means inculcating the basics, particularly things like proper breathing, posture, form, technique, and the like. The text also notes the importance of modeling in this regard. As chance would have it, I happened (unintentionally) to create a bridge to this point in my PLN for this week, where I discussed the importance of modeling performance self-assessment--utilizing digital recording technology--for my students. This is an important technological asset for an ensemble instructor to consider using with the group as a whole to help students understand and realize their performance strengths, weaknesses, and potential as a whole.
But there are important technologies that can be used by students on an individual level as well. It is easy to overlook them due to their prevalence, but digital metronomes and tuners are a paramount resource for school ensembles, which should be encouraged for use both privately and as a group. Any student with a smartphone has access to a metronome at any time, as Google has a metronome function (and there are web app tuners, too). For a more intense use of technology in an ensemble setting, software like Audacity, which was a focal point of this week’s module, presents the opportunity to take digital recordings – such as those of an ensemble performance – and remix them for a variety of purposes. This could be something to incorporate into ensemble classes, providing a more accessible way to incorporate creative thought into an ensemble curriculum, which tend to be focused predominantly on musical production for concerts and the like.
While the text, as referenced above, notes the importance of teaching the fundamentals in early lessons, there are many students who did not have this luxury. We still want to reach them with our music programs. Another way to incorporate technology into the performance-ensemble setting is through the use of strategy that was discussed in the literature this week is the use of a MIDI ensemble. This can aid students who did not have exposure to instruments from a younger age. For students such as this, a MIDI ensemble (which utilizes electronic instrumentation rather than a particular grouping of instruments) has the potential to provide the structured benefits of an ensemble setting without the requirements usually necessitated in terms of instrumental experience. But as the text says, this ensemble type can appeal to "traditional and non-traditional music students" alike, meaning that the ensemble would also be enhanced by the presence of more seasoned musicians from the student body (Bauer, 2014, p. 90).
For my own setting, I was struck by the possibility of an Internet-based ensemble. The potential for cross-pollination of ideas and picking up new and innovative pedagogical strategies is intriguing in this regard. My institution is part of a confederation of private schools situated across the U.S., which would make something like the Internet ensemble well-suited for my context. With regional music programs already in existence, why not try something on the national level? Groups from across the country could display one another on PowerPoint screens in auditoriums while performing on stage below them, as pictured here.
References
Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York, NY: Oxford University Press.
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