How to Design and Implement an Electronic Music Program

in a Community Music School

Elisenda Fábregas

University of Texas at San Antonio

Introduction

This paper focuses on the different stages of planning and implementation of the Bloomingdale House of Music electronic music program in New York City, which was developed over the span of three years, and it is based on the researcher's practical experience as both an administrator and as a teacher at the Bloomingdale House of Music.

The initial pilot project during the summer camp of 1990 was designed to introduce electronic keyboards, windcontrollers, drum pads and ensemble playing to twenty-five children (grades 3-9) of various musical backgrounds (including eight beginners). Based on the evaluation results of this pilot project, these instruments were then integrated into the music program of the regular school year. During the summer camp of 1992, another pilot project was designed to introduce composition, theory and other creative projects using Macintosh computers to fifteen children (grades 4-9) of various musical backgrounds. This pilot project also included instruction in keyboard, windcontroller, drum pad and ensemble. Subsequently, computer applications of music, such as composition, sequencing and theory instruction using specialized music software (such as Encore, Finale, EZVision and Practica Musica), were integrated into the regular music program.

The Bloomingdale House of Music is a non-profit community music school located in the upper Westside of Manhattan. The school's operating budget funds come from tuition, government grants and donations from foundations, corporations and individuals. Student enrollment reaches 640 students in the after-school program (aged 18 months to senior citizens) and 750 in the public school program, the oldest outreach program in the city. In addition the school recently initiated the Music Access Project (MAP), a specialized full-scholarship program for disadvantaged teenagers who whish to pursue a career in music. The faculty includes 54 teachers, most of whom are active performers trained in nearby conservatories such as the Juilliard School, Manhattan School of Music and Mannes School of Music.

Why an electronic music program?

Electronic instruments, such as the windcontrollers, drum pads and keyboards used at Bloomingdale are excellent introductory instruments (especially for young children) because they are accessible, portable, affordable and they are popular and familiar to the general public. Additionally, the different sounds and rhythms stored on their built-in sequencers make them ideal instruments in ensemble situations.

Benefits

Accessibility - Sound is easy to produce. A windcontroller student, for example, needs to learn how to breathe properly to be able to play the instrument, but does not need to develop an embouchure since the instrument is always in tune. In addition, the windcontroller's breath on/off button allows the student to concentrate on fingering only. These features of the windcontroller allow the student to focus on one problem at the time without feeling overwhelmed by all the technical problems that are usually encountered when learning how to play an acoustical wind instrument. The windcontroller is a rewarding and satisfying instrument that allows young children to have results in a short period of time.

Popularity and familiarity - Electronic instruments, especially keyboards, are heavily advertised by the media and to the eyes of young people, they fit easily into the scheme of the modern world.

Timbres and rhythms - Electronic instruments are packed full with a variety of timbres and rhythms which enhance the ensemble experience and stimulate the students' curiosity.

Portability - Most electronic instruments are portable and can be operated either with batteries or with AC adapters.

Affordability - Portable electronic instruments are very affordable and can be used as introductory instruments for those families that would first like to try out some lessons before committing themselves to purchasing expensive acoustical instruments.

Ensemble experiences - Electronic instruments are well suited for ensemble experience. Students can participate in ensemble experiences after only a few lessons and at an earlier age than with acoustical instruments.

Most electronic instruments are MIDIed and can be used with computers. There is a variety of specialized computer software that provide students with a more independent means of studying theory, ear training and composition. CAI composition has been proven to be an excellent tool to increase self-esteem and independence in at-risk students (Bibb, 1991).

Challenges

Even though teachers' attitudes are constantly changing, there is still resistance to electronic instruments, computers and music technology in general from some teachers (Bash, 1990). On many occasions, this resistance to music technology is caused by fear of not being 'competent' enough to master machines and ignorance of the possibilities and benefits that these 'machines' can bring to the musical experience. Some of the challenges in integrating music technology into the curriculum are: the training of teachers, the development of instructional materials (and/or the adaptation of traditional methods and teaching techniques), and the funding of the initial equipment purchase. In addition, it is necessary to have excellent communication between teachers and the administration. However, it only takes one person to be excited about music technology to make this excitement contagious to other colleagues and to plant the seed that on time will lead to the integration of music technology in the music curriculum.

How to Start a New Program: Key Aspects

Some of the key components in making the Bloomingdale project a success were:

Summer camp -A new program is best tested by trying it out in a short and intensive period of time such as a summer camp. Student drops are minimized since it is a short period of time, student training is intensive (daily versus weekly), and it is easy at the end of the program to get feedback from students, parents and teachers and to evaluate the program.

Communication - One of the keys to success is that the person initiating the program has to have excellent communication with the administration or be a member of the administrative team. The success of the Bloomingdale projects was as much a success in administration as in teaching, since the director of the program was also the Director of Education of the school as well as a faculty member.

Teacher training - Teachers have to be trained properly so they feel comfortable in their new teaching situation and feel they are in control.

Knowledge of the Student Body - Programs are most effective when the needs and interests of the students and the community are taken into account.

Curriculum - The curriculum needs to be diverse, varied, balanced, realistic, structured, coherent and cost-effective (Jorgensen, 1987).

Outcomes - There has to be a clear picture of the results expected by setting up realistic goals and objectives.

Evaluation - When starting a new program, it is imperative to test it by evaluating and documenting all the various aspects.

Description of the Program

The electronic music program at the Bloomingdale House of Music was planned and implemented in four phases.

Phase 1

During the summer camp of 1990, children were introduced to windcontroller, keyboard and drum pads instruction and ensemble playing.

Goals and Objectives

The goals of the summer camp of 1990 were to introduce to and instruct young students on three types of electronic instruments: keyboard, windcontroller and drum pads, as well as ensemble playing.

The objectives of the camp were as follows:

1. To develop new instructional materials and to adapt traditional methods while fully exploring the timbres and other novel features of the instruments.

2. To increase the music literature available for the electronic instrument ensemble by arranging music of various styles and by writing new compositions (Nelson, 1990).

3. To help teachers gain more expertise and feel more comfortable in the teaching of electronic instruments.

4. To encourage teachers to use electronic instruments in their teaching.

5. To find new ways of teaching music using the unique features of the electronic instruments.

6. To test the performance of the instruments selected in terms of reliability, sturdiness, dynamics, capacity to make music, and accessibility to young children.

7. To monitor the reactions of parents, students and teachers and to find out if there was enough interest in the instruments to warrant offering instruction during the regular school program.

8. To gain knowledge and experience on how to use electronic instruments in order to incorporate them into the regular school year.

Some of the outcomes expected were that: 1) children would treat electronic instruments seriously (Hoffer, 1988); 2) the electronic instruments are as capable to make music as acoustical instruments; 3) beginning children would learn faster with the electronic instruments; 4) electronic music ensemble would increase the motivation of the students (Hoffer, 1988); 5) electronic instruments were accessible enough to allow children to participate in the ensemble; and 6) children would continue lessons after the camp.

Description of the Camp

The total cost of the equipment was $8,797 and included windcontrollers, drum pads, keyboards and accessories. (For a complete list and cost of the equipment see Table 1). All the instruments were portable and could be operated with either batteries or an AC adapter. All the instruments were MIDI equipped since the acquisition of computers was anticipated. Among the windcontrollers in the market, the Casio DH-100 (which uses the Böehm fingering) was chosen because it was the easiest windcontroller to play (Abeles & Scoyoc, 1990). It comes with six timbres, an optional vibrato tone, portamento effect and a transposition button. The range depends on the fingering used (Böehm or Casio). The Casio DH-500 was selected because of its expanded lower range and sound quality, a helpful feature for the electronic ensemble. (Unfortunately they are not being manufactured anymore. A good alternative to the Casio windcontrollers is Yamaha's Windjammer).

The Yamaha DD5 drum pad was chosen because it is portable and accessible to young children. It includes four pads with twelve rotating preset percussion sounds which allowed 144 possible sound combinations, and had 30 different built-in programmed rhythms. The Kawai WK-50 keyboards were chosen at the time also for their accessibility. They had a variety of sounds and rhythms on-board and had a built-in sequencer . The WK-50 was also MIDIed and was portable and very affordable. A couple of Casio CPS-300 keyboards were bought to be used by the most advanced piano students. These keyboards were touch-sensitive and had foot pedals.

Budget

The income from the camp consisted of student tuition and foundation money. Expenses, which consisted of salaries and equipment purchases, totalled $14,500.

Faculty recruitment was based on 1) teaching experience, 2) prior experience with electronic instruments, and 3) personal interest in technology. The faculty consisted of two keyboard teachers (one of them also being the keyboard ensemble teacher and the Director of the camp), one drum pad teacher and one windcontroller teacher.

The student body consisted of 25 children (ages 7 through 14) of various musical and socioeconomic backgrounds (including 8 beginners).

Curriculum and Materials

The camp was held during the entire month of July (Monday to Friday), from 9:00 A.M. to 5:00 P.M. During the first week of the camp, students had group instruction in each of the instruments. During the second week up to the end of the camp, students majored in one instrument (receiving semiprivate lessons) while taking group instruction in the others.

Ensemble - Arrangements of folk, popular and classical music as well as new compositions were written for the electronic ensemble. The ensemble music had varying levels of difficulty within each piece, allowing beginners and more advanced students to play together in most pieces. The music was written using the transposing characteristics of the particular instrumental timbres instruments and using a special labeling system for each instrumental staff (L= timbre sounding one octave lower than usual; N= sounding as written; and H= sounding one octave higher than written). The music was written with Finale, a computer music printing software, providing individual parts for the students and a score for the conductor. The ensemble music included Au Clair de Lune, Merrily We Roll Along, Hot Cross Buns, the Donkey, Chorale from Beethoven's Ninth Symphony, Valse Triste by Sibelius, Largo by Corelli, Red River Valley, Amazing Grace and the Entertainer. A few weeks into the camp new compositions for specific technical problems were written.

Windcontroller - The method used for windcontroller instruction was the Elementary Method for the Soprano Recorder by Gerald Burakoff (1967).

Keyboard - Beginning methods such as the Joy of First Year Piano by Denes Agay were used in the keyboard instruction (depending on the level of the students).

Drum pad - The drum pad instructor wrote the percussion parts to the ensemble arrangements and used them as instructional materials along with specially designed exercises.

Administration - Administrative responsibilities included scheduling (of teachers, students and rooms), designing surveys and questionnaires for students, parents and teachers, creating a student database, supervising students, recruiting, registering and billing students, and tape recording various classes as well as videotaping the final concert.

Evaluation Results and Conclusions

Students were given a survey at the onset of the camp to find out their experience and views about electronic instruments and, at the end of the camp, questionnaires were given to students, parents and teachers (Fábregas, 1992). Other means of evaluation included live and recorded observations of the camp by the researcher, teacher logbooks, and teacher reports during the daily staff meetings.

Students - The student answers to the questionnaire showed that: 1) they found the electronic instruments fun and easy to play; 2) preference among the instruments was evenly distributed; 3) instruments were 'liked' more or less according sometimes to the student's familiarity with the instrument and other times according to the novelty of the instrument ; and 4) instrument 'liking' was at times correlated with the student's self-assessment of ability to play the instruments.

Parents - The results from the parents questionnaires showed that: 1) the majority of the students were more motivated towards music after the camp; 2) the students wanted to continue music lessons after the camp; 3) the students regularly practiced at home during the camp; and 4) the participation in the ensemble fomented a sense of responsibility in the students.

Teachers - According to the various teachers, the ensemble was a unique experience for the students, fomenting a sense of teamwork, leadership and responsibility and providing a complete musical experience (integration of harmony, rhythm, melody, timbre). The teachers felt that the final concert provided a sense of pride and accomplishment to the students.

Instruments - They were a few minor problems with the instruments: the transposition button on the Casio DH-100 windcontroller (which was located on the side of the instrument and easy to touch by mistake) and the low volume of the Yamaha DD5 drum pad when used without amplifiers. However, all these problems were resolved. In general, the reaction of the teachers to the instruments was very positive. However, some of the limitations of the instruments (as compared to similar acoustical instruments) and on occasion their very accessibility made the teachers wary. For example, the windcontroller teacher said that the students sounded impersonal and less expressive playing the windcontroller and that he could not recognize the students by their tone. The drum pad teacher felt frustrated by the lack of foot pedals, the physical layout of the pad and the considerably low volume level of the drum pad. Finally, the keyboard teacher missed weighted keys and touch sensitive keys in the keyboard. According to the teachers, however, the advantages of the instruments outweighed their handicaps. The instruments were reliable, sturdy and accessible to the young children in the camp. In fact, all the children said that they had fun playing the electronic instruments and the majority of them indicated that the electronic instruments were easy to use. The electronic instruments also allowed the children to participate in ensemble experiences from the beginning which would have been impossible with acoustical instruments.

Ensemble and Arrangements - An overwhelming majority of the students enjoyed participating in the ensemble. One of the reasons was that the children enjoyed playing and making music together. Many of the students were excited by the sounds of all the instruments playing together and were intrigued by how a piece is put together and how all the small parts fit into the overall construction of a piece. The students also enjoyed the excitement of preparing and performing a piece. The concert at the end of the camp showed that by using accessible electronic instruments and arrangements which allowed for a variety of levels, it is possible to have an ensemble composed of beginners and more advanced players. With only one month of training, these students were able to prepare and perform a concert at the end of the camp.

The results from the evaluation of the Bloomingdale camp showed that there was a clear interest among the parents and students in technology and that the electronic instruments should be introduced in the music curriculum of the regular academic year at Bloomingdale.

Recommendations

Some of the recommendations that transpired from the implementation of the first stage of the project were as follows:

Recommendation 1. The camp should include more creative projects such as composition and improvisation using Macintosh computers.

Recommendation 2. Keyboard students should be taught with a multiple key approach.

Recommendation 3. Teachers should use the electronic music ensemble as a teaching tool because it is a motivator of student learning.

Recommendation 4. More arrangements and new music must be written for the electronic music ensemble.

Recommendation 5. Teachers need to be provided with a structured and supportive environment so they can appreciate the possibilities and the advantages of teaching music with electronic instruments to children.

Recommendation 6. Electronic instruments (such as the Casio DH-100 and DH-500 windcontroller and the Yamaha DD5 drum pad) should be used as introductory instruments to young children because they are very accessible.

Recommendation 7. The sound quality of the electronic music ensemble could improve if 1) touch-sensitive keyboards were used; 2) more Casio DH-500 were added; and 3) drum pads with a foot pedal were used.

Recommendation 8. The music industry should develop more windcontrollers that are suited for children.

Recommendation 9. Classroom activities involving the use of electronic instruments should take into consideration their new and unique features like the breath on/off button of the windcontrollers and the built-in sounds and rhythms of the keyboard and drum pad.

Recommendation 10. The electronic music ensemble should be used as a marketing tool to educate the public and to overcome teacher resistance to technology. The popular saying 'seeing is believing' could be transformed to 'listening is believing'.

Phase 2

During 1990-91 and 1991-92 the activities of the 1990 summer camp, such as private and group keyboard instruction, private windcontroller and drum pad instruction and electronic music ensemble were integrated into the regular school curriculum.

During 1990-91 a total of 30 children (ages 6 through 9) enrolled in 5 keyboard classes at Bloomingdale. In the next year (1991-92) the number of students grew to 52 with a total of seven keyboard classes. The maximum number of children per class was eight.

The $8,500 cost of the initial equipment purchase was recouped after only one year of electronic music instruction. The electronic music ensemble was used as a recruitment tool performing in school concerts and street fairs.

Phase 3

During the summer camp of 1992 another pilot project was conducted: Children were introduced to creative projects such as improvisation and composition using Macintosh computers and the built-in sequencers on the keyboards (in addition to getting instruction on electronic instruments and ensemble). For more information on creative projects using keyboards see Carden (1988).

The goals of the camp were to expand the successful activities of the 1990 camp introducing children to computer applications of music and all their creative potential.

The structure of the 1992 camp was similar to the previous camp of 1990. This time the camp included fifteen children ages (9 through 15) and four teachers. The new equipment purchased included two Macintosh Classic II computers with two Studio Plus Two MIDI interfaces, and one Hewlett Packard Deskwriter printer . The camp paid for itself (including the cost of the equipment) with student tuition. Equipment expenses totaled $3,395.

Other equipment used in the camp included four M1 Korg synthesizers which were lent to the school by Korg USA.

Curriculum

The principal music printing software used in the camp was Encore by Passport Designs. It allowed children to notate their compositions in two different ways: 1) by playing their piece on the synthesizer in real time, or 2) by using the note palette and entering the music one note at the time with the mouse. Emphasis was put on notation: students first wrote down their compositions on paper before they began to enter them on the computer. Depending on the age and musical level of the student, compositions ranged from a few measures and one staff to several page compositions with two staves.

Phase 4

During 1992-93, computer applications of music using Macintosh computers were integrated into the music curriculum.

Since we only had two computers, instruction was reduced to one or two students at the time. Students receiving instruction in composition and music theory included children from 10 years old, teenagers, and adults. In addition to Encore, other music software was used such as Finale, Music Prose, EZ Vision (a sequencer program) and Practica Musica (a theory tutorial).

Computer applications of music became an integral part of the music curriculum of the students of the Music Access Project (MAP), a select group of disadvantaged teenagers who which to pursue a career in music and who received full scholarship, thanks to a $90,000 grant that the school received. The MAP program included computer assisted composition using Encore and Finale and theory tutorials, such as Practica Musica. These students already had a good knowledge of harmony and theory and they were able to write quite complex compositions at an average of six compositions per semester. The computer lab was available at almost any time for them and were able to work on their compositions throughout the week in addition to their by-weekly class time. Student followed different approaches: some students conceived their compositions at the computer by entering a few notes at the time and then listening and editing the product; 2) other students first wrote down their compositions on paper and then entered them into the computer.

Conclusions

The electronic music program at Bloomingdale was an exciting addition to the regular music activities of the school and provided the technological edge which other community music schools in the area lacked. It has been an excellent student recruitment tool and has given to the school a sense of pride for being the first community music school in New York City to include such a program.

The first phase of the Bloomingdale project, the summer camp of 1990, is covered in detail in the researcher's doctoral dissertation including numerous tables and appendixes such as questionnaires, evaluation results, equipment lists, schedules and budgets. It also includes three of the ensemble arrangements used in the camp. Two volumes of music for the electronic ensemble will be available in the fall of 1994.

References

Abeles, Harold & Von Scoyoc, Marilyn (1990, October). Technology for teaching. Music Educators Journal, pp.14-18.

Bash, Lee (1990). Visions: warning, you may be raplaced. The Music & Computer Educator, 1 (5), 7-8.

Bibb, Gregoty (1991). Paul Revere elementary School, Chicago Illinois: reaching out the inner city students using music technology. The Music & Computer Educator, 2 (3), 19-21.

Burakoff, Gerald (1967). The elementary method for the soprano recorder. New York: Hargail Music Press.

Carden, Joy (1988). A piano teacher's guide to electronic keyboards. Milwaukee: Hal Leonard Publishing Corporation.

Fábregas, Elisenda (1992). How to Design and Implement an Electronic Music Program in a Community Music School in New York City. Unpublished Doctoral Dissertation, Columbia University Teachers College, New York City.

Hoffer, Charles R. (1988). Electronic keyboards: toys or teaching tools? Music Educators Journal, pp. 54-55.

Jorgensen, Estelle R. (1987). The curriculum design process in music. College Music Symposium, 94.

Table 1

Instruments and Accessories

Summer Camp of 1990