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ict advice | ICT Advice in Music Newsletter

ICT Advice in Music Newsletter

Editorial

Clearly, this year the role of the subject associations is really intensifying right across the board, with Government-funded initiatives under way with several support providers. ICT Advice newsletters aim to keep you in touch with these and other latest developments in the use of ICT in music.

The newsletters are free, and anyone can sign up to receive a copy by email by completing the short online form at ICT Advice Registration [http://www.ictadvice.org.uk/registration]. Please pass on copies of this newsletter to others you think might be interested, so that they can register for their own copy.

Andy Murray, Editor

Features

Young sequencing gurus

Jenny de Sausmarez is a specialist music teacher at Embley Park Junior School. There is no legal requirement for private schools to follow the National Curriculum. Nevertheless, Jenny is creating a scheme of work to develop performing, composing and appraising skills - and the school's new ICT equipment offers many advantages...

Thanks to a BT Award for music technology, the school now has a dedicated music technology suite with keyboards on sliding trays under the work surfaces. These are all linked to computers with Cubasis VST sequencing software. There are enough keyboards for the pupils to work in pairs, and experience has taught me that headphones are a necessity!

Last year, for their first sequencing project, I asked Years 5 and 6 to compose tunes based on the Indian Rag Bageshri. After investigating a variety of four-note patterns using the keyboards, the children chose their favourites, which they put together to create miniature tunes. They practised these, and were eventually able to record them using Cubasis VST.

During the project, I demonstrated the pre-recorded audio tracks that came with the software. The ‘Indian music' file had a variety of short tunes and rhythmic patterns recorded with authentic instruments which the children could import into their work. Most of the children's finished pieces included an authentic imported instrumental Alaap (prelude), followed by their own composition on a separate track. Some imported a drumming file, which they copied and pasted a number of times to continue throughout their piece. A few more able children progressed on to using the Cubasis mixing desks and thoroughly enjoyed experimenting with balancing the volume levels between the tracks.

The Indian project was a most enjoyable one in which the technology enabled the children to create a high-quality, authentic-sounding piece of music in a way that would otherwise not have been possible. One pupil commented, “In school you don't have the instruments you need like the sitar”, and observed that by using the technology, “You can hear different instruments from different countries, which is fun.”

This year, our Year 4 pupils have also been given an opportunity to use the equipment to support performing and composing. They study the Tudors in history lessons, so as a cross-curricular link I taught them a Tudor tune (from Helen MacGregor's Listening to Music Elements) in their weekly recorder lesson. This uses just the notes G, A, B, C and D. Some children played a drone on G and D using tuned percussion, while others maintained a steady beat or rhythmic ostinato (depending on their ability) on drums.

I then explained that, by using technology, the tune, drone and rhythmic sections could each be performed one at a time onto different tracks using ‘historical' sounds. We could not have done this without our new equipment. Once familiar with their parts, the children transferred to the keyboards to practise, and enjoyed using the harpsichord timbre. The note names were written on the keyboards to help the children, who worked in ability pairs. Some pairs were able to play the tune simultaneously, while others split the tune between them to help keep a steady beat.

Extending the task, I asked the children to compose their own Tudor tune using the same notes. They had to write it onto the graphic score they had been using (with the original notes blanked out to make way for their own compositions). While the children were composing, I was able to start helping individual pairs to record the original tune. At the time of writing, this stage is still in progress. In many ways, the skills the children have learned by using PowerPoint elsewhere in the curriculum seem to be helping them to use the sequencing software.

Initially when the children were starting to record, the self-imposed pressure of ‘getting it right' meant that they made mistakes and hit wrong notes. I encouraged them to play their short composition lots of times while recording, which meant that they relaxed into their performance without worrying about mistakes. The children could then listen to what they had played and identify the best sections of their performance, before selecting and deleting unwanted parts of the track.

Recording a tune is a big achievement for some children. A few of the more able pupils recorded a drum track with greater accuracy using a metronome, and added the tune, their composed tune and a drone all on separate tracks. It has since occurred to me that, by clicking and dragging parts of the tune, the technology could be used to explore how counter melodies work.

A few children have worked with both the Cubasis VST and Logic software. It is interesting to observe that the children themselves did not have a strong preference for either. They clearly have the necessary generic skills, and only need to become more familiar with the workings of the particular software. In future I plan to make use of their existing IT skills in a variety of carefully chosen music learning frameworks beginning with Year 3, ranging from building up a rhythmic track using the metronome as a steady beat to using different instrumental timbres and textures for effect.

I think our new equipment offers many advantages. In the words of my Year 6 class, the technology is “fun, and you can record pieces and use different sounds”. Also, “You don't have to remember because you can record it”. Another child observed that he was able to “carry on from one week and progress it on; start from the place I left rather than all over again.” Comparing sequencing technology with using classroom percussion, one of the girls said, “I don't hear everybody else's music if I use the headphones, so I can concentrate.”

The equipment has made composition tasks so much more exciting and realistic for our pupils. Their first steps into a different dimension of musical experience have been exciting for their teacher to witness, too.

Understanding DJ mixing

With DJ equipment now included on the QCA list for Key Stage 3 (see National Curriculum in Action: Music [http://www.ncaction.org.uk/subjects/music/ict-sft.htm]), Helen Godwin (aka DJ Helish) tells us more about her DJing workshops with young people.

I have been DJing for the past 10 years and recently completed a BA in music production at Northbrook College. This course covered music production and recording techniques, synthesis, acoustics, web design and the music business.

I now work for a company called Audio Active. We deliver DJ and computer music workshops to young people all over the south of England. We work with a variety of young people, including students from pupil referral units (PRUs), youth clubs, the YMCA and young offenders, but we rarely work in music lessons in mainstream schools.

Here's the basic equipment a DJ needs, with a brief comment about each item.

• Two record decks (for vinyl records) - the best make is Technics (model 1210) costing around £350. DJ decks are different to domestic turntables because they have a vary-speed function and use special slip mats. These features enable the DJ to fit one record exactly in time with another.
• Needles - Stanton is one manufacturer that makes needles specially for DJ use. Needles usually need to be replaced every three months.
• Two CD decks (optional) - these also have a vary-speed facility. (CD decks are less popular with young people as they can't see the CD spinning round or touch it direct.)
• DJ mixer - each deck is plugged into a separate channel on the DJ mixer, and a ‘cross-fader' makes it possible to fade from one deck to the other. Mixers cost from £100 to £1,000, depending on what sort of added features are included (bass, mid and treble cut, extra EQ, built-in sound effects such as reverb and flange, or extra channels).
• Two sets of headphones - the headphones plug into the DJ mixer and make it possible to listen privately to the record to be played next. Using a splitter enables the tutor and the student to listen at the same time, and this is necessary to demonstrate how to mix.
• Flight case (optional) - a tough metal box for protecting equipment while in transit.
• Records and CDs - it is important to buy different genres of music, as young people have different tastes. At the moment, drum and bass, garage and hip-hop are popular. It is also important to keep up to date by buying new records as often as possible.
• Microphone - this plugs into the DJ mixer and is used for rapping.
• Amplifier, speakers and leads - these are needed to amplify the output from the mixer. Speakers with built-in amplifiers are easier to move and store than separates.

[Teachers looking for a way to introduce DJ re-mixing activities using less equipment should read the review of the Mixman DM2 later in this newsletter.]

The main aim of DJing is to get the beats and bars of two different records synchronised with each other. Most modern dance music has a 4/4 beat, and all pieces have their own key and rhythm. DJs have to know their records well - know when the tune starts to build up, when it breaks, and when the melody or lyrics come in. When the records are not in time or tune with each other, it sounds like what I call ‘galloping horses'. Once a mix goes wrong, it's very hard to correct.

It takes a lot of skill and practice to consider all of these factors. It took me two years of practising every day to be beat and bar perfect, but I had no one to tell me how to do it. My first student learned in one year and went on to win the 2003 ‘Radio One Live' competition at Brighton.

MCing means rapping over the DJ's music. Rappers need a good sense of rhythm as well as poetic and vocal skills. These definitely improve with practice. MCing really helps the young people I work with to express themselves, and it builds their confidence about performing in front of other people.

One young person I work with is in a pupil referral unit. In our first session, he walked away after two minutes saying he was bored. Nevertheless, I carried on playing records, and he came back five minutes later saying he wanted another go. After five minutes he was bored again. By the end of that session, he played for 20 minutes. Now when I see him he plays for an hour and a half with no breaks. He has also started learning computer-based music and ICT skills. His behaviour has completely changed for the better, and he is so much more confident in himself and with others.

Young people love DJing and MCing because the DJ has become the new ‘super star' and people like to follow in the footsteps of their icons. For me, DJing is a way of relaxing. When I get a mix together, in front of a crowd or at home on my own, it makes me feel very good.

ICT latest

What! Cheap computers?

ICT co-ordinators or headteachers of state maintained primary, secondary and special schools can apply for low-cost computers from Tools for Schools [http://www.tfs.org.uk/]. This organisation refurbishes computers donated by industry, and recycles them to schools. While the specification of the recycled, refurbished machines is above the minimum technical specification recommended by Naace, such machines probably won't have the speed and power to cope well with demanding music applications such as multitrack audio recording. However, for less demanding applications like simple MIDI sequencing and standard multimedia playback they should be fine.

Names of MIDI instruments

The output window in the vanBasco karaoke player may sometimes list instruments such as ‘warm pad' along with more standard instruments such as ‘flute' or ‘guitar'. A teacher recently asked, “What does a warm pad look like?” thinking that it might be possible to draw one or perhaps to show a photo. Well, not all of the instrument names used in MIDI programs are necessarily ‘real world' instruments. Names like ‘warm pad' are actually synthesizer sounds that have a particular type of sound quality.

Here are some sound names used in MIDI that are descriptions of synthesizer timbres rather than names of actual instruments:

For the complete picture, see the full list of MIDI ‘instruments' at the General MIDI Search Engine [http://www.geocities.com/SiliconValley/Heights/2569/InstTabl.htm] pages.

Enhancing subject teaching using ICT

Subscription-based CPD packages in three more subjects, including music, were announced by the DfES at BETT in January. The materials for teachers of music at Key Stage 3 are currently in preparation by Indigo Visions [http://www.indigo-visions.co.uk/], and are planned for release in September. Teachers who purchase a training package will receive resources (such as presentations, worksheets and sound files) that can be used ‘off the shelf' in the music classroom. Online mentors provide support throughout, and teachers are entitled to at least 12 hours of face-to-face training. Further information is available from the DfES ICT in Schools [http://www.dfes.gov.uk/ictinschools/ict_teaching/] site.

Sonic Postcards

Sonic Postcards [http://www.sonicartsnetwork.org/education.htm] is a new project from Sonic Arts Network. The project aims to explore and compare the local sound environments of young people, the impact of sound on our lives, and the possibilities for creativity through the interaction of these sounds with technology. The project is aimed at pupils aged between 9 and 14, and will be based on clusters of up to four schools from a number of regions around the UK. Participating schools will explore their local soundscape through a series of activities, including the creation of sound journals and maps. They will capture these sounds (using basic equipment and software provided by the project) and make their own creative ‘sonic postcards' to email to others in the project. A feature article about the project is planned for the next issue of ICT Advice in Music.

Music on laptops

Laptops for pupil use are becoming increasingly popular in schools but, unfortunately, they are usually not of a high enough spec for music use. The tiny built-in speakers often hardly give any bass response, for example. The easiest way to hear a good balance of high and low sounds is to plug in headphones. Without extra gear, making high-quality audio recordings using laptop computers is generally impossible. Most laptops have a built-in microphone under a tiny hole somewhere near the keyboard. But this is good enough only for speech, and generally picks up fan noise and all sorts of other undesirable sonic ‘mush'. Even using an external microphone often adds whirring and radio interference from the laptop's internal components. To make decent music recordings you really need to go through an external USB audio interface, and our Reviews section this month has some suggestions which should do the trick.

Music XML

On 13 January, Recordare [http://www.recordare.com/] announced the launch of MusicXML Version 1.0. This means there is now a common file format for music notation programs. The company produces Dolet software, which acts as a ‘universal translator' for Sibelius and Finale, so that they too can understand MusicXMLs. The implication is that, one day soon, no matter which program you use, all notation programs will be able to read the files you create.

If something similar were to happen for sequencers, we could wave goodbye to incompatibilities of files produced in Cubase, Logic, Sonar, Magix and so on, which might then encourage the development of education resources that everyone could use. Unfortunately, this still seems a long way off.

Reviews

Di

The ‘di' format from Digimpro [http://www.digimpro.com/] is a new consumer audio format with an important difference. If you wish, you can just listen to a track in the normal way. But a ‘di' CD also contains PC software that allows you to make creative changes to both the order of the sections and the choice of instrumental tracks that play in each section. So you can create personal mixes and save them to disk or send them to others. Or you can just click a button and the software generates its own new mix. There are plans to look into education resources too.

Sibelius Compass

Sibelius Compass [http://www.sibelius.com/products/compass/], the latest product in the Sibelius Education range, is aimed at pupils in Key Stage 4 and above. Its ‘tracker' utility lets users load, record and manipulate musical motifs to explore techniques of musical development. A series of structured classroom lessons guide pupils through the theoretical knowledge they need. This then leads to composition projects such as theme and variations, song writing and blues. Students develop their ideas in the ‘tracker', and can then transfer them to Sibelius 3 or any other sequencer.

Mixman DM2

TAG Learning [http://www.taglearning.com/] now distributes Mixman DM2, a product from Digital Blue [http://www.playdigitalblue.com/] that enables DJ-type creative re-mixing to be performed and recorded. From TAG, Digital Blue's Mixman DM2 hardware and software package costs around £89 for a single product and £425 for a class set of five (prices exclude VAT) – but, if you don't have to use eLCs, it would pay to shop around.

Mixman DM2 consists of a hardware performance console that outwardly resembles a pair of record decks. This console plugs into a computer via a USB cable. If the computer is already geared up for sound playback through speakers or headphones, the Mixman DM2 is all the DJ re-mixing equipment you should need. You don't even need vinyl records because the computer holds all the sound samples, which can be triggered in several ways from the console. The console's features include:

• sixteen track buttons (eight on each deck) that play different samples while held down
• a central lock button on each deck that allows any sample to continue looping after its track button is released (tracks are automatically synchronised to play in time)
• a solo button, so that you can suddenly break the texture down to a single track and then go back to the full texture at will
• a joystick to perform warp effects that apply electronic processing to the sound
• three warp preset buttons for switching the kind of warp processing effect in use
• four macro buttons that each store or recall a particular prepared setting of which tracks are on and off
• a cross-fader - so that you can fade between the different combination of tracks on each deck
• transformer buttons that work in conjunction with the cross-fader to allow rhythmic punctuation effects
• a scratch ring on each deck so that you can jog its most recently triggered sample forwards and backwards in time to the beat.

You can use one of about 50 sets of sounds, in a variety of modern styles, that come with the software, or you can record your own samples from a microphone onto any track. Your own settings can be saved to the computer disk, as can audio recordings of any performances made on the decks.

This product allows older pupils plenty of flexibility to be creative without the physical worry of making sure everything stays in sync, which seems to be the main difficulty on traditional DJing equipment. It also looks suitable for simpler sound sample triggering in live situations needed in primary music education too. More information about Mixman DM2 can be obtained from the frequently asked questions in the Technical Support area of the Digital Blue website

USB audio interfaces

If you use a laptop, it's almost impossible to make a high-quality audio recording without using an external USB interface (or perhaps a PCMCIA card). In the past year these have become more readily available. The Sonica Theater device from M-Audio [http://www.m-audio.net/] seems tempting at £59, but this isn't designed for microphone recording. The Audigy 2 NX, from Sound Blaster [http://www.soundblaster.com/] is much better suited and costs around £85 (prices exclude VAT).

eSAAMS

eSAAMS [http://www.esaams.co.uk/] is electronic recording assessment and management software that will run on a laptop, desktop or tablet PC. It can store audio and video clips for assessment, comparison or analysis. Although it can be used in any subject, it was developed with music very much in mind and can be purchased with eLCs.

Youth Music

The Youth Music [http://www.youthmusic.org.uk/] website is the place to go if you'd like to find out more about local music projects and events after reading our feature on DJing. ‘Plug into Music' projects, funded under Youth Music's ‘Open Programme', support the use of modern technology in music making. The projects often take place out of school hours, and workshop leaders are usually interested to make contact with local music teachers. The website lists projects and contacts by geographical region.

The Soundstation

The Soundstation [http://www.soundstation.org.uk/], a new website from Youth Music, is divided into areas to appeal to different ages: Bongo Club for 0-8 years, Soundbeat Studio for 8-14 years and Cre8 Crew for 14-18 years. There are quizzes and lots of online music clips; for example, Soundbeat Studio contains a world music game focusing on instruments from around the world. There are also news articles, interviews and reviews. Youth Music indicates that there will be a monthly quiz, and we can expect the content to grow.

BBCi

The BBC's Guide to the Orchestra [http://www.bbc.co.uk/orchestras/guide] contains many high-quality audio clips that demonstrate the different instruments - both solo and accompanied - of the standard orchestra. Facts about each instrument and its techniques, diagrams, photos and interviews with players, are all included here.

Radio 3 Classroom Resources [http://www.bbc.co.uk/radio3/teachers/classroom.shtml] lists the BBC's downloadable Key Stage 2 music packs, which have step-by-step guides for non-specialist music teachers, while CBBC Music [http://www.bbc.co.uk/cbbc/music/] has lots of fun, music-focused activities for children. Nearly everything in this section lies within the pop idiom.

Screenonline

Screenonline [http://www.screenonline.org.uk/] is the home of a new lottery-funded archive of film clips hosted by the British Film Institute (BFI). UK schools can register to have free educational access to these clips (which are not available to the public). BFI is exploring plans to introduce information trails specifically to support music education. Further information is available from Mark Duguid [mailto:mark.duguid@bfi.org.uk] at BFI.

Associated Board of the Royal Schools of Music

The new website of the ABRSM [http://www.abrsm.org/] is well worth a visit. Music teachers, students and parents each have their own area, providing easy access to relevant news, articles, events, resources and links. There are forums, too, where those who have registered can ask questions and exchange opinions.

Freeloops

Freeloops [http://www.freeloops.co.uk/] is one place to go if you want to download free loops for use in loop sequencers. There are other free resources, too, such as chord charts and tutorials.

Events diary

Music ICT Conference, 17 September, London

With financial support from the DfES and other bodies, NAME is to host a special one-day conference devoted to issues concerning ICT in music education. This will form part of NAME's annual conference, this year to be held in London. The special ICT day will be Friday 17 September. Watch the NAME website [http://www.name.org.uk/] for updates

eLC deadline, 31 August

One significant event coming up is the deadline for spending this year's allocation of electronic learning credits (eLC). Make sure you don't let the date slip by without taking full advantage of your department's allocation. See Curriculum Online [http://www.curriculumonline.gov.uk/News/elcsupdate.htm] for details of participating suppliers.

TOP forum

The TOP Music forum [http://www.ictadvice.org.uk/?rid=2548] is an online community of music teachers and others involved or interested in promoting the effective use of ICT in the teaching of music. It allows opportunities to use email for:

• peer-to-peer support and pooling of knowledge
• the exchange of different professional views and opinions
• access to expertise and up-to-date information.

Guests can view the archives, but registered members (registration is free) can join in the discussions and share their own experiences. One of the tips shared in a recent discussion is that the instrument audio examples on both the the Playmusic [http://www.playmusic.org/] and the BBC Guide to the Orchestra [http://www.bbc.co.uk/orchestras/guide/] sites aren't downloadable, whereas those at DataDragon Education [http://datadragon.com/education/instruments/] are – which means that students can include them in PowerPoint presentations, for instance.

And finally...

Monday morning blues? Need inspiration? We suggest, then, that you look at ICT Advice primary music [http://www.ictadvice.org.uk/index.php?section=tl&cat=001001009] and ICT Advice secondary music [http://www.ictadvice.org.uk/index.php?section=tl&cat=001002009]. For secondary students, Soundbeam can be just the thing to liven up the soul - and the learning – while for younger pupils, the Jabberwocky activity might do just the same.

If that doesn't do the trick, try browsing through the ICT Advice Ask an Expert archive to Music hardware and software: choices and uses [http://www.ictadvice.org.uk/index.php?section=ae&theme=63] for some inspiration! The team of music experts answered many good email questions from music teachers across the country.

Next issue

Sonic Postcards

A detailed report on this Sonic Arts Network project, and information about how you can join in.

Indigo Visions

Details about the ESTUICT (Enhancing Subject Teaching Using ICT) CPD scheme for Key Stage 3 music teachers and the materials that will be available in the autumn.

Disclaimer

While every care has been taken in the compilation of this information to ensure that it is accurate at the time of publication, Becta cannot be held responsible for any loss, damage or inconvenience caused as a result of any error or inaccuracy within these pages. Although all references to external sources (including any sites linked to the Becta site) are checked both at the time of compilation and on a regular basis, Becta does not accept any responsibility for or otherwise endorse any information or products contained in these pages including any sources cited. This newsletter is produced by Becta [http://www.becta.org.uk/].

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