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E-raamat: Electronic Music School: A Contemporary Approach to Teaching Musical Creativity

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(Adjunct Professor of Music, New York University), (Music Teacher, Lebanon Public Schools)
  • Formaat: 352 pages
  • Ilmumisaeg: 18-Jun-2021
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780190076665
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Electronic Music School: A Contemporary Approach to Teaching Musical CreativitySuurem pilt
  • Formaat: 352 pages
  • Ilmumisaeg: 18-Jun-2021
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780190076665
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Electronic Music School: A Contemporary Approach to Teaching Musical Creativity is a practical blueprint for teachers wanting to begin teaching music technology to secondary age students. Will Kuhn and Ethan Hein inspire classroom music teachers to expand beyond traditional ensemble-based
music education offerings to create a culture of unique creativity and inclusivity at their schools.

Part One offers an overview of the philosophical and institutional aspects of starting a music technology program, with a particular focus on the culture of electronic music surrounding digital music creation tools. Part Two dives deep into curricula for music lab classes, including several lesson
examples and techniques. This section also includes abbreviated project plans for teachers who have fewer contact hours with their students. Part Three discusses how music technology courses can grow into a larger media creation program, how such a program can contribute to the broader school
culture, and how project-based music learning effectively prepares students for careers in media. Electronic Music School also includes narratives from music technology students themselves, who often have an intuitive understanding of the future directions music technology programs can take.

Arvustused

Featuring a creative workshop model that goes beyond our traditional music education pedagogy and curriculum, Kuhn & Ethan Hein shape new trends for music teachers to support their own students as successful electronic music makers in multiple settings. Whether learning in PK-12 settings, in school, at home or in the community, Electronic Music School is a must read guide for all worldwide. * Elise Sobol, Director of Music Education, NYU Steinhardt Department of Music and Performing Arts Professions * In today's world, the presence of technology in teaching there has never been more essential tool for connecting, creating, and capturing student work. The integration of technology into the music classroom is no longer a fringe endeavor by a small group of tech geeks - the coming of age of technology in the music classroom has arrived. What Kuhn & Hein have put together in this publication is magnificent - an essential guide to not only how to build a technology-rich learning environment for music - what they call an Electronic Music School - but a well-crafted guide to how to teach in this new environment, why this type of learning is relevant, and practical strategies for continuing to engage students for years to come. Any music educator interested in incorporating more music technology into their instruction should add this book to their professional library immediately. * Jim Frankel, Director, MusicFirst *

Foreword xv
Adam Neely
Preface: The Music Class at the End of the World xvii
Acknowledgments xxi
To the Reader xxv
To Public School Teachers xxv
To Independent Music Teachers xxv
To Everyone xxvi
PART I WHAT YOU NEED TO START YOUR OWN ELECTRONIC MUSIC SCHOOL
1(46)
1 Toward a Creative Music Curriculum
3(9)
1.1 The Creative Music Teacher
3(2)
1.2 Addressing Students Who Typically Don't Take Music Classes (The Other Eighty Percent)
5(2)
1.3 How Music Technology Can Fit into a Broader Performing Arts Curriculum
7(1)
1.4 The Divide Between Music Teachers' Definition of Music and Students' Definition of Music
8(4)
2 An Art Class for Music
12(7)
2.1 Portfolio Creation
12(1)
2.2 Computer as Tool Versus Computer as Medium
13(1)
2.3 Songwriting and Sound Creation
14(1)
2.4 Remixing
15(1)
2.5 Sampling
15(4)
3 Understanding What a School Really Wants
19(8)
3.1 Who Makes Decisions About Curriculum?
19(1)
3.1.1 The Teacher
19(1)
3.1.2 Administrators
19(1)
3.2 Selling the Lab-Based Music Course
20(2)
3.2.1 Administrators and School Leaders
20(1)
3.2.2 Teachers
21(1)
3.2.3 Parents
21(1)
3.2.4 Students
21(1)
3.3 How Music Tech Benefits the Master Schedule
22(1)
3.4 How Music Tech Benefits the Music Department's Profile
22(1)
3.5 Sweetening the Deal with Graduation Requirements
23(1)
3.6 Getting Funding and Staying Funded
23(1)
3.7 Protecting Your Investment
24(1)
3.8 Criticisms of a Nontraditional Music Class
25(2)
4 Tech You Will Need for Your Program
27(13)
4.1 The Computer
27(1)
4.2 Headphones
28(1)
4.3 MIDI Input Devices
28(3)
4.4 Getting a Space
31(1)
4.5 Possible Room Configurations
32(1)
4.6 Choosing Other Hardware for the Lab
33(1)
4.7 Setting Up an Individual Station
34(1)
4.8 Building on Existing Infrastructure
34(2)
4.9 Day-to-Day Considerations
36(1)
4.10 Maintenance and Cleaning
37(3)
5 Ableton Live and Push
40(7)
5.1 An Optimal Setup
40(1)
5.2 Why These Tools?
41(1)
5.3 Ableton Live Basics: Arrangement View and Session View
41(1)
5.4 Ableton Push Overview
42(2)
5.4.1 Do You Really Need One?
43(1)
5.4.2 Techniques Afforded by Push
43(1)
5.4.3 Drum Programming
44(1)
5.4.4 Chords and Melodies
44(1)
5.5 Comparisons to Other DAWs
44(3)
PART II CREATIVE ELECTRONIC MUSIC PROJECTS FOR THE MASSES
47(186)
6 Designing Creative Music Projects
49(13)
6.1 Working with Beginners
49(1)
6.2 Philosophy
50(1)
6.3 Process Versus Product
51(2)
6.4 Customization and Aesthetic Opportunities
53(1)
6.5 Pacing
53(1)
6.6 Listening to and Observing Students
54(2)
6.6.1 Techniques for Pop-Cultural Ethnographic Observation
54(1)
6.6.2 Tips for Incorporating a New Trend in Your Teaching
55(1)
6.7 The Project Formula
56(1)
6.8 Technical and Aesthetic Goals
57(2)
6.9 Deconstructing a Genre
59(1)
6.10 Universal Techniques
59(1)
6.10.1 Provide Default Tracks and Presets
59(1)
6.10.2 Add Variety Through MIDI Manipulation
59(1)
6.10.3 Scenes as Form
59(1)
6.10.4 Recording to Arrangement View
60(1)
6.10.5 Eight-bar Phrases
60(1)
6.10.6 Song Structure
60(1)
6.10.7 Fuzzy Boundaries and Fill Bars
60(1)
6.10.8 Making Songs End Gracefully
60(1)
6.11 The Prime Directive
60(2)
7 Teaching Recording and Sampling with Audio Projects
62(50)
7.1 Designing Projects Centered on Audio
62(7)
7.1.1 Play, Stop, Record
62(1)
7.1.2 The Timeline
62(1)
7.1.3 Recorded Audio
63(1)
7.1.4 Basic Editing Skills
64(2)
7.1.5 Loops
66(1)
7.1.6 Ableton Lives Session View
67(1)
7.1.7 Ableton Live's Arrangement View
67(2)
7.2 Project Example: Arranging Clips
69(5)
7.2.1 Project Duration
69(1)
7.2.2 Technical Goals
69(1)
7.2.3 Creative Goals
69(1)
7.2.4 Listening Examples
69(1)
7.2.5 Before Teaching This Lesson
69(1)
7.2.6 Project Design
70(1)
7.2.7 Day-by-Day Plan
70(3)
7.2.8 Troubleshooting
73(1)
7.2.9 Differentiated Instruction
73(1)
7.2.10 During Work Time
74(1)
7.2.11 Assessment Strategies
74(1)
7.3 Project Example: Unreliable Product Ad
74(8)
7.3.1 Project Duration
74(1)
7.3.2 Technical Goals
75(1)
7.3.3 Creative Goals
75(1)
7.3.4 Listening Examples
75(1)
7.3.5 Materials Needed
75(1)
7.3.6 Before Teaching This Lesson
75(1)
7.3.7 Project Design
75(1)
7.3.8 Day-by-Day Plan
76(2)
7.3.9 One-Hour Version
78(1)
7.3.10 Troubleshooting
78(1)
7.3.11 Differentiated Instruction
79(1)
7.3.12 During Work Time
80(1)
7.3.13 Assessment Strategies
80(1)
7.3.14 The Comedy Pyramid
80(2)
7.4 Project Example: Simple Remix
82(8)
7.4.1 Project Duration
82(1)
7.4.2 Technical Goals
82(1)
7.4.3 Creative Goals
82(1)
7.4.4 Listening Examples
82(1)
7.4.5 Before Teaching This Lesson
82(2)
7.4.6 Project Design
84(2)
7.4.7 Day-by-Day Plan
86(2)
7.4.8 Troubleshooting
88(1)
7.4.9 Differentiated Instruction
89(1)
7.4.10 During Work Time
89(1)
7.4.11 Assessment Strategies
89(1)
7.4.12 Making This Project Your Own
89(1)
7.5 Project Example: Picking Apart a Multitrack
90(6)
7.5.1 Project Duration
90(1)
7.5.2 Technical Goals
90(1)
7.5.3 Creative Goals
90(1)
7.5.4 Listening Examples
90(1)
7.5.5 Before Teaching This Lesson
91(1)
7.5.6 Project Design
92(1)
7.5.7 Day-by-Day Plan
93(1)
7.5.8 Troubleshooting
94(1)
7.5.9 Differentiated Instruction
94(1)
7.5.10 During Work Time
95(1)
7.5.11 Assessment Strategies
95(1)
7.5.12 Making This Project Your Own
95(1)
7.6 Project Example: Custom Cover Song
96(5)
7.6.1 Project Duration
96(1)
7.6.2 Technical Goals
96(1)
7.6.3 Creative Goals
96(1)
7.6.4 Listening Examples
96(1)
7.6.5 Before Teaching This Lesson
96(1)
7.6.6 Overview of the Technique
97(1)
7.6.7 Syncing the Guide Track Using Ableton Live
98(2)
7.6.8 Cultural Considerations
100(1)
7.7 Project Example: Movie Soundtrack
101(11)
7.7.1 Project Duration
101(1)
7.7.2 Technical Goals
101(1)
7.7.3 Creative Goals
101(1)
7.7.4 Examples
102(1)
7.7.5 Before Teaching This Lesson
102(1)
7.7.6 Project Design
103(1)
7.7.7 Day-by-Day Plan
103(4)
7.7.8 Troubleshooting
107(2)
7.7.9 Differentiated Instruction
109(1)
7.7.10 During Work Time
110(1)
7.7.11 Assessment Strategies
110(1)
7.7.12 Making This Project Your Own
111(1)
8 Teaching Songwriting with MIDI Projects
112(63)
8.1 Software Instruments Versus MIDI
112(2)
8.1.1 Drums Versus Not-Drums, Step Time Versus Real Time
113(1)
8.2 Functional Music Theory
114(1)
8.3 Elements of Music
115(1)
8.4 Sound Design
116(1)
8.5 Genre Deconstruction
117(1)
8.6 Project Example: Drum Programming
117(10)
8.6.1 Project Duration
117(1)
8.6.2 Technical Goals
117(1)
8.6.3 Creative Goals
117(1)
8.6.4 Listening Examples
118(1)
8.6.5 Before Teaching This Lesson
118(1)
8.6.6 Project Design
118(1)
8.6.7 Day-by-Day Plan
118(7)
8.6.8 Troubleshooting
125(1)
8.6.9 Differentiated Instruction
125(1)
8.6.10 During Work Time
126(1)
8.6.11 Assessment Strategies
126(1)
8.7 Project Example: Beatmaking
127(7)
8.7.1 Project Duration
127(1)
8.7.2 Technical Goals
127(1)
8.7.3 Creative Goals
127(1)
8.7.4 Listening Examples
127(1)
8.7.5 Before Teaching This Lesson
127(1)
8.7.6 Project Design
128(1)
8.7.7 Day-by-Day Plan
129(3)
8.7.8 Troubleshooting
132(1)
8.7.9 Differentiated Instruction
133(1)
8.7.10 During Work Time
133(1)
8.7.11 Assessment Strategies
133(1)
8.8 Project Example: Slow Jam
134(13)
8.8.1 Project Duration
134(1)
8.8.2 Technical Goals
134(1)
8.8.3 Creative Goals
134(1)
8.8.4 Listening Examples
134(1)
8.8.5 Before Teaching This Lesson
134(1)
8.8.6 Project Design
135(1)
8.8.7 Day-by-Day Plan
136(9)
8.8.8 Troubleshooting
145(1)
8.8.9 Differentiated Instruction
146(1)
8.8.10 During Work Time
146(1)
8.8.11 Assessment Strategies
146(1)
8.9 Project Example: Future Bass
147(11)
8.9.1 Project Duration
147(1)
8.9.2 Technical Goals
147(1)
8.9.3 Creative Goals
147(1)
8.9.4 Listening Examples
147(1)
8.9.5 Before Teaching This Lesson
148(1)
8.9.6 Project Design
148(1)
8.9.7 Day-by-Day Plan
149(7)
8.9.8 Troubleshooting
156(1)
8.9.9 Differentiated Instruction
157(1)
8.9.10 During Work Time
157(1)
8.9.11 Assessment Strategies
157(1)
8.10 Project Example: House Music
158(8)
8.10.1 Project Duration
158(1)
8.10.2 Technical Goals
158(1)
8.10.3 Creative Goals
158(1)
8.10.4 Listening Examples
158(1)
8.10.5 Before Teaching This Lesson
158(1)
8.10.6 Project Design
158(1)
8.10.7 Day-by-Day Plan
159(5)
8.10.8 Troubleshooting
164(1)
8.10.9 Differentiated Instruction
165(1)
8.10.10 During Work Time
166(1)
8.10.11 Assessment Strategies
166(1)
8.11 Project Example: Trap Beats
166(9)
8.11.1 Project Duration
166(1)
8.11.2 Technical Goals
166(1)
8.11.3 Creative Goals
167(1)
8.11.4 Listening Examples
167(1)
8.11.5 Before Teaching This Lesson
167(1)
8.11.6 Project Design
168(1)
8.11.7 Day-by-Day Plan
168(3)
8.11.8 Troubleshooting
171(2)
8.11.9 Differentiated Instruction
173(1)
8.11.10 During Work Time
173(1)
8.11.11 Assessment Strategies
173(2)
9 Teaching Creativity with Outside-the-Box Projects
175(42)
9.1 Designing Projects to Teach Originality
175(1)
9.2 Irreverence
176(1)
9.3 Repurposing Ideas That Exist Already
177(1)
9.4 Finding Your Voice
177(1)
9.5 Project Example: Soundscape
178(8)
9.5.1 Project Duration
178(1)
9.5.2 Technical Goals
178(1)
9.5.3 Creative Goals
178(1)
9.5.4 Listening Examples
179(1)
9.5.5 Before Teaching This Lesson
179(1)
9.5.6 Project Design
179(1)
9.5.7 Day-by-Day Plan
179(5)
9.5.8 Troubleshooting
184(1)
9.5.9 Differentiated Instruction
184(1)
9.5.10 During Work Time
185(1)
9.5.11 Assessment Strategies
185(1)
9.6 Project Example: Vaporwave and Lo-Fi Hip-Hop
186(8)
9.6.1 Project Duration
186(1)
9.6.2 Technical Goals
186(1)
9.6.3 Creative Goals
186(1)
9.6.4 Listening Examples
186(1)
9.6.5 Before Teaching This Lesson
186(1)
9.6.6 Project Design
187(1)
9.6.7 Day-by-Day Plan
187(6)
9.6.8 Troubleshooting
193(1)
9.6.9 Differentiated Instruction
193(1)
9.6.10 During Work Time
193(1)
9.6.11 Assessment Strategies
194(1)
9.7 Project Example: Video Beatboxing
194(7)
9.7.1 Project Duration
194(1)
9.7.2 Technical Goals
194(1)
9.7.3 Creative Goals
195(1)
9.7.4 Video Examples
195(1)
9.7.5 Audio Examples of Found Sounds in the Drum Parts
195(1)
9.7.6 Before Teaching This Lesson
195(1)
9.7.7 Project Design
195(1)
9.7.8 Day-by-Day Plan
196(3)
9.7.9 Troubleshooting
199(1)
9.7.10 Differentiated Instruction
200(1)
9.7.11 During Work Time
200(1)
9.7.12 Assessment Strategies
200(1)
9.8 Project Example: Sampling
201(10)
9.8.1 Project Duration
201(1)
9.8.2 Technical Goals
201(1)
9.8.3 Creative Goals
201(1)
9.8.4 Listening Examples
201(1)
9.8.5 Before Teaching This Lesson
202(1)
9.8.6 A Crash Course in Musical Intellectual Property
202(1)
9.8.7 Project Design
203(1)
9.8.8 Day-by-Day Plan
203(5)
9.8.9 Troubleshooting
208(1)
9.8.10 Differentiated Instruction
209(1)
9.8.11 During Work Time
210(1)
9.8.12 Assessment Strategies
210(1)
9.9 The Final Project
211(6)
9.9.1 Project Duration
211(1)
9.9.2 Goals
211(1)
9.9.3 Project Design
211(1)
9.9.4 Day-by-Day Plan
212(2)
9.9.5 Troubleshooting
214(1)
9.9.6 During Work Time
215(1)
9.9.7 Assessment Strategies
215(2)
10 Common Issues in Music Lab Lessons
217(6)
10.1 Weak Student Engagement
217(1)
10.2 Projects Take Too Long
217(1)
10.2.1 Strategy One: Real Artists Ship
218(1)
10.2.2 Strategy Two: More One-on-One Help
218(1)
10.2.3 Strategy Three: Pencils Down
218(1)
10.3 Projects End Too Quickly
218(1)
10.4 Students Are Afraid to Show Their Projects
219(1)
10.5 I Can't Think of Ideas for Projects
220(1)
10.6 Staying Relevant
220(1)
10.7 I Went to School for Music. How (or Why) Should I Manage a Computer Class?
221(1)
10.8 Students Are Trying Hard, But They Always Seem Lost
222(1)
11 Assessing Music Lab Projects
223(3)
11.1 Intrinsic Motivation
223(1)
11.2 Critical Listening
224(1)
11.3 Practical Considerations
224(2)
12 Future-proofing the Electronic Music School
226(7)
12.1 Refreshing Old Projects
226(1)
12.1.1 Strategy 1: Update the Elements of a Project That Involves Choices
227(1)
12.1.2 Strategy 2: Acknowledge Defeat and Make Fun of Your Past Self
227(1)
12.2 Outlasting a Graduating Class
227(1)
12.3 Maintaining Skills Between Old and New Projects
228(1)
12.4 Adapting to New Teaching Formats
229(1)
12.5 Committing to a Platform (or Not)
230(3)
PART III COMMUNITY MUSIC CULTURE AND EXTRACURRICULARS
233(42)
13 Live Performing and Afterschool Groups
235(12)
13.1 Preparing Students for a Musical Life Outside of School
235(1)
13.2 Model One: Recording Club
235(1)
13.3 Model Two: The House Band
236(1)
13.4 Model Three: Electronic Music Group
237(10)
13.4.1 The Birth of the Electronic Music Group
237(1)
13.4.2 Equipment
238(6)
13.4.3 A Student Perspective on EMG
244(1)
13.4.4 The Live Set
245(2)
14 Understanding Student-Led Groups
247(13)
14.1 The Teacher's Role (Hint: Very Different)
247(1)
14.2 Remember the Prime Directive
248(1)
14.3 Building Creative Teams
248(1)
14.4 The Whiteboard Session
249(2)
14.5 Giving and Taking Criticism
251(2)
14.6 Refining Ideas Before They Get Made
253(1)
14.7 Facilitating, or "What Can You Do That They Can't?"
253(3)
14.8 How Ideas from Student-Led Groups Benefit Lab-Based Courses
256(1)
14.9 The Core Values
256(1)
14.10 Going Beyond Music: Film, TV Shows, Other Content, and Media Production
256(4)
15 Virtual Electronic Music School
260(5)
15.1 Burn It All Down
260(1)
15.2 Change Everything
260(1)
15.3 Moving the Electronic Music School Online
261(3)
15.3.1 Smaller Group or Individual Meetings
262(1)
15.3.2 Synchronous Class Meeting That Breaks into Smaller Groups
262(1)
15.3.3 Asynchronous Online Class
262(1)
15.3.4 Live-Streaming Sessions
263(1)
15.4 Rebuilding
264(1)
16 A Rising Tide
265(10)
16.1 Maximum Reach and Demographics
265(1)
16.2 How Traditional Music Groups Thrive Because of Project-Based Courses
266(1)
16.3 A Performing Arts Program That Truly Elevates Culture
267(1)
16.4 Critical Popular Music Studies
267(1)
16.5 Producing and Consuming Audio
268(1)
16.6 Educational Goals and Social Impact
269(1)
16.7 The Racial Politics of Music Education
269(1)
16.8 Music Creation as Personal Development
270(1)
16.9 Building for Musical Lifetimes
271(4)
Index 275
Will Kuhn is the Department Chair and Music Technology instructor at Lebanon High School in Lebanon, Ohio. In 2006, he designed an innovative Music and Media Tech curriculum focused on amateur music production, which now enrolls over 350 students annually. Nationally, he gives clinics and workshops on revitalizing school music programs for the 21st century. His book, Interactive Composition (OUP, 2015, with VJ Manzo), has become a widely used text on Ableton production and he serves as an educational advisor for Ableton's education initiative. He currently serves as the President-Elect of TI:ME (Technology Institute for Music Educators).

Ethan Hein is a Doctoral Fellow in music education at New York University, and an adjunct professor of music technology at NYU and Montclair State University. As a founding member of the NYU Music Experience Design Lab, he has taken a leadership ro le in the development of various technologies for music learning and expression. He has written for

publications like NewMusicBox, Slate, and Quartz.
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