The New Studio

James Gholson

Memphis State University

Often, when I teach a scale or have a student sing a melody, I see my mom patiently reminding her piano students, "Remember the notes that are flat in the key of Bb," or "Remember ---hold that half note for two beats," I think how miraculously the computer can reduce the feedback or turnaround time, of students from a week to mere seconds. Students can practice and drill concepts at their home computer. In some instances, programs also develop exercises which address weaknesses.

If the computer is in the same room as the private lesson, we can use it immediately to reinforce concepts in rhythm, scales, intervals and melody. If we add videotape recorders and midi keyboards, all of us can easily imagine the impact and power of electronic media on the traditional music studio. As a proponent of electronic media, I would like to share my experiences with you about those computer programs I have found particularly helpful. Since I am not a programmer, I would also like to talk about what is needed . . . from both a software design and educational standpoints

.

I am thrilled about the possibilities of the computer as an educational support entity. It is an objective tool which allows students plenty of drill and minimizes personality issues. Drills and exercises help the student become familiar with the vocabulary of the discipline and not allow the student to circumvent work for psychological babble. Students address their issues in both memory and logic and work at an individual pace. I like to use several computers in a one room schoolhouse type of setting. This summer, we housed a summer band camp at White Station Jr. High. We kept the band room intact and used an adjacent room to house five computers with music software. We used six basic programs during the band camp and found students to be thrilled and excited about complementing their band classes with a music computer laboratory. The programs we used were:

1. By Ear 1-415-546-1917 Ibis

2. Byear Demo

3. Tapit 1-800-348-5003 ECS

4. Tapit Demo

5. Rhythm Ace 1-415-546-1917 Ibis

6. Keysig....sharewar404

7. Note-by-Note 1-901-873-0387 Applied Microsystems

8. Music Theory (Apple)

Our first steps were to show students how to boot up the programs. Believe it or not, we had several students who were skilled in the use of disk operating systems. We placed three students at each computer and headed those groups with computer literate students. As students became more fluent in the use of the computer and more aware of their knowledge issues, we place them at computers as individuals. In many instances, students had computers at home. In those cases, we extended shareware or demo versions to them to allow them the option to practice at home. In this regard, it might be useful for software developers to consider software/shareware bundles for teachers and students to maximize the effect of the software which they are strides in their understanding and execution of music skills. I have placed demo versions of "BYEAR" and "TAPIT" on this Memphis Bulletin Board named " THE NORTHEND." The number for that board is 1-901-873-0387.

There is much recent interest in the public schools and this discussion heightens when we talk about the value of music in the school curriculum. Much of this talk has to do with priorities. Is music expendable? Are the arts necessary to the SAT or ACT? Does competency in the arts presuppose a career in the arts?

In some ways, music educators have not been as aggressive as necessary to insure the survival of the musical arts. Is there a bulletin board for music educators? Can we download software and converse about music issues? One of the biggest shortcomings of public school music is that many students participating in music programs are not familiar with the vocabulary. Students cannot take dictation or count a simple melody. Much of this has to do with performance demands; band and choral teachers are just being flat out overwhelmed. Additionally, band and choral classes are generally very large. Even in the private studio, there often is not the time to address a weakness that has turned up in the students' music vocabulary. Good computer programs can be invaluable in helping students develop counting and listening skills . . . it's almost as if you have an additional teacher in the room. Knowledge of this vocabulary is essential to the creative urges of music composition. Here we find that energetic students become frustrated by their inability to notate and read their ideas on the music staff. This is particularly evident in students who are not pianists. The computer program that allows students who have marginal keyboard skills to notate, revise and play back their creations will be very popular. Young musicians today want to learn vocabulary efficiently to make a more vibrant and rich musical statement. The energy and vitality of pop music culture provide one of the wonders of the USA. I think we should update our usual messages for music as a means of developing discipline or self expression. Music is primarily a tool for refining the ability to listen. Today, world culture lies at our feet and the computer has changed the stakes.

As music educators, I believe that part of our inability to convince funding agencies of our value lies partially in being overwhelmed. Perhaps we allow performance deadlines to make us "product" rather than "process" oriented. The computer can help us to be more creative in more thoroughly educating students. The most joyful byproduct in skills. Musicians must have audiences and the audiences should consist of skillful listeners. In a sea of monologues, congruent and simultaneous, the skill of careful and accurate listening has emerged as a rare gift.

I would like to focus on the role of listening by using a software program called "BYEAR". This program helps students recognize the direction and quality of intervals, thereby increasing their ability to appreciate scale and intervals studies. I use licensed programs in the studio and offer shareware or demo versions for students to use at home. Of course, I encourage them to read legal notices and conditions of purchase. The point of all this is to take advantage of breaks in concentration or physical stamina to develop and encourage increased understanding of theoretical issues in music. I personally believe that young male Afro-Americans are in great need of this kind of software. I think part of the great tradition of classical music is to liberate the ears to develop aural concentration and demonstrate the fullest panorama of dialogue in sound.

WHY? Many students who would like to major in music in college or simply write a song cannot do so; they lack the understanding of how to notate music either spontaneously or through dictation. "BYEAR", a software product by Ibis, generates intervals, fragments and scales at random and challenges participants to respond with correct answers. The objective of this piece of software is to train the participant to listen. The aural memory is challenged to duplicate exercises on the keyboard with accuracy. Accuracy means recalling the pitches and sharpening this skill through repetition and drill. I strongly encourage software designers to develop shareware and demo versions of their products. As the competition increases for the hearts and minds of buyers, a product that can be shared LEGALLY can be very important. The beauty of giving a student the demo version of this program is that the student can work at home. "BYEAR" develops the ability to extend pitch memory beyond the major scale to its many truncations and modifications.

Alfred Music's Practical Theory is another program which can be used in both the demo and commercial versions. This program targets theoretical issues in harmony, rhythm, intervals and scales. It is surprising to find "blind spots" in the backgrounds of our finest young performers. These programs provide a non-threatening environment with unlimited opportunity for drill.

What about music appreciation? Students in those classes should be exposed to this software also. It seems to me that software programs could help students recognize rhythms and melodies of thematic importance

This is another opportunity to develop music vocabulary. Based on attendance figures at symphony concerts, audiences are neither energized, uplifted or excited about music for orchestra by contemporary composers. Consider the incredible vitality of the popular and folk music scene in our country; composers who combine the matchless thematic and fugal techniques of Bach or Beethoven with Bartok's reverence for folk idioms are practically nonexistent. Let's broaden the base of music competency in American audiences. Students who have completed four years of a high school band program often do not understand the simplest scale. Many are befuddled when presented with a scale beyond two sharps or dictation which includes syncopated rhythms. The high quality of software now available can help to better educate our young students and improve the listening skills of our audiences.

A MEMO; Software designers, in the programs you develop, please simulate problems caused by errors in logic or explain errors in logic found in the student responses. In other words, we need something more than "NO" or "OOPS".

We can now make a covenant to relieve the overburdened band or choral instructor and help the eager learner. Learning centers in each private studio which house computerized music tutors can help us effectively develop learners from eight to eighty. I believe they can ultimately help us to listen and better communicate.

James Gholson, DMA | Personal replies to:

Music Dept, Room 293 | gholsonj@msuvx1.memst.edu

Memphis State University | gholsonj@memstvx1.bitnet

Memphis, TN 38152 |=20

TEL: (901) 678 - 3793 | CLARINET INTERVIEWS: gopher

FAX: (901) 678 - 5118 | aserver.finearts.utah.edu