Marc R. Dickey, Ph.D., California State University, Fullerton

The objective of this presentation is to address two topics: first, how can schools of music teacher training adequately train pre-service and in-service K-12 school music teachers to effectively use computers in teaching music and in managing the school music program when only limited computer music facilities are available in the college or university computer music laboratory? And second, what skills, knowledge and understandings do pre-service and in-service K-12 school music teachers need to effectively use computers in the music teaching and learning process when their computer music facilities are limited?

In regard to the first issue of how colleges and universities with limited computer music facilities can adequately train music teachers to use computers in teaching and managing music classes, this presentation will pose and respond to the following questions:

In response to the first question, the issue of responsibility, teaching music students to utilize appropriate technology ideally should be a shared responsibility. Bowman states that "a preferred approach with regard to instructional use of music technology would be not to focus on the technology as the object of study, but instead to integrate it into appropriate areas of study across the curriculum" (1990. p. 23). One can imagine a curriculum in which ear training, music literature, conducting, class piano, counterpoint, and other classes include technological components; the faculty expertise or desire to utilize technology in teaching all of the subjects that could be taught in this manner.

Although it is a compromise, one solution is to offer one course for music education students in which they concentrate on learning to use software for music teaching and learning, and for music program management. Deutsch pointed toward the need for such a course in 1989 when he wrote that "there are still few colleges or universities that require knowledge of music technology for their students of music education. The still small number of teachers using these new tools are primarily those who have learned them on their own and then applied that knowledge to their work" (p. 26).

A music teacher's need to manage the music program suggests training in word processing, database, spreadsheet, mail merge, music notation, and MIDI applications. One advantage to offering a course for music education majors that trains them in music program management is that it is experiential: creating and using databases of a music library or instrument inventory and spreadsheets of a music program budget are more helpful that lectures or textbooks about how to organize a school music program because students actively participate in the subject matter.

Obviously, some students will come into such a course with virtually no computer experience, some with word processing experience only, some with office skills but no music skills, and others with complete computer literacy including MIDI skills. I believe that if there is any course in a music education curriculum that should be offered in a competency-based environment, with credit given for skills acquired prior to taking the course, this is the one.

The second question regards what teaching techniques, strategies, and assignments are feasible when available equipment consists of perhaps just a few computers, a modest MIDI laboratory, and a printer in a college or university computer music laboratory. Instructors with a sophisticated interactive teaching station and large video monitor connected to multiple MIDI work stations often use a "follow-along-with-me" strategy. The teacher models a procedure and students imitate it step-by-step. In a smaller lab with no teaching station, modeling possibilities are limited. Although both approaches are experiential, they differ in how each utilizes or allows for inference and discovery learning and the students' abilities to generalize.

The "follow-along-with-me" strategy of the larger laboratory can be problematical; all of the students must work at the same pace as the instructor. This often results in some students getting behind or working ahead of the instructor by a step or two. When this occurs, the instructor must interrupt instruction to the class to help these students find their place. Also, instructors sometimes falsely assume that the students' experiences in working along with the instructor, combined with attempts to simultaneously take notes, will be sufficient to replicate or expand upon the procedure independently outside of class.

There are of course also disadvantages to the more modest laboratory where no large video monitor exists. Class size must be limited so that all students can see whatever monitor is available. An instructor can model procedures with students gathered around, and individual students can take turns attempting on step at a time. Due to limited opportunities for students to work along with the instructor in this "over-the-shoulder" technique, and because it is not reasonable to expect students to use software manuals or on-line help menus exclusively or extensively to complete assignments to complete assignments independently in the laboratory outside of class time.

The first assignment for a new procedure must be so detailed that literally every step is clearly explained. Ensuing assignments can be less and less detailed so that students can eventually operate independently. Such explicit written tutorials are quite time consuming for the instructor to prepare, and they again represent a compromise to a large multi-station laboratory. However, the use of such tutorials, and the experience of working in a smaller laboratory, allow several potential benefits to the student:

MIDI can seem especially intimidating to music teachers who have not worked with it before; it is truly simple and complicated at the same time. Mueth states that "we, as music educators, have only begun to realize the potential of MIDI. The first step in utilizing that potential is reducing any apprehension and fear of MIDI" (1993, p. 49). Several short assignments with clear goals and extensive instructions written specifically for the equipment at hand can help reduce the apprehension.

One useful technique for creating such tutorials is to use two computers at once. On one, the tutorial author manipulates the software that is the object of instruction; on the other computer, the author writes the assignment instructions using a word processing program. In my experience, students appreciate these tutorials because they can complete them in and on their own time, and because they can take the tutorials with them as an ongoing resource.

Regarding the second issue of what skills, knowledge and understandings pre-service and in-service K-12 school music teachers need to effectively use computers in the music teaching and learning process when their computer music facilities are limited, this presentation will consider the following questions:

In response to the first question, regarding what can be accomplished in a music classroom when only one computer exists, one should first acknowledge that the music teacher's quest to involve students in a truly creative musical experience has been hijacked by the complexity of the process and the skill level required when technology is not present. The computer enables us to address this problem: it is infinitely patient (unlike the human teacher); it is a dependable teacher's aide, working with students individually or in small groups while the teacher addresses the larger, remaining group; and, although a high level of musical aptitude and skill in the student is certainly desirable, trial and error will suffice as the student hears his or her work played back, and then makes changes until satisfied. Breemersch notes that at one time the creative process was "limited to very few people who would discipline themselves to manipulate traditional musical instruments, but today anyone can test and explore 'what if' scenarios and develop their creative energies via electronic keyboards interfaced with a computer" (1990, p. 4). With just a simple music notation program, and detailed written instructions and guidelines from the teacher, students can manipulate pitches and rhythms until they create a composition that is pleasing to them.

However, Deutsch points out that "it is clearly difficult to schedule computer time for individual students, no matter how much value a director [teacher] might place on it" (1990, p.2). At the elementary level, computer laboratories are in high demand with work in reading, writing, science, arithmetic, and mathematics. Music instruction in these facilities is usually a relatively low priority, and even if the facility were available it often does not have music work stations. Fortunately, most self contained elementary classrooms today have at least one computer. Since elementary music specialists usually instruct a class on a limited basis, a computer assignment given in cooperation with the regular classroom teacher can be used to review or expand upon instruction, possibly moving into the area of creativity.

Clark asserts that "even with a limited budget and limited time, a teacher can incorporate the new technology of music into an established general music curriculum" (1989, p. 13). The music specialist can leave an assignment with clear instructions that individuals or pairs of students can take turns completing, while the rest of the students are involved in other instruction. Over a period of a few weeks, all of the students in the elementary class can complete the assignment. Although such a project would require seemingly extraordinary cooperation from the classroom teacher, keep in mind that elementary classroom teachers are already experts at managing several simultaneous activities in a room, while also being barraged with frequent interruptions.

A similar approach can be used in the intermediate or high school music performance or academic classroom that has only one computer. In this case however, the computer is most often held captive in the instructor's office area for program organization and administration. An investment in a computer cart with wheels can make it convenient to move the computer between office and classroom as necessary. The music teacher, like the elementary classroom teacher discussed formerly, can send individual or paired students to complete a computer music assignment at the back of the classroom while rehearsal or other instruction occurs. Once again, detailed written instructions are necessary.

Working in groups of two is highly recommended for this computer music "pull-out program" approach. If one student becomes stuck with a computer problem or a musical problem, the other student will likely be able to help.

Thought and care should be given to the relationship between the objectives of classroom instruction and computer assignments. Many applications are still written by software designers who have no background in music education; thus, one should consider what is really learnable from working with a particular application. Some of the best assignments for reviewing or expanding upon classroom objectives can be created by the music teacher with basic notation and sequencing programs. On the other hand, work with published drill-and-practice software in music theory, ear training, or intonation may enhance classroom teaching and learning very nicely.

With these possibilities for teaching music under these conditions, what assignments can help prepare pre-service and in-service music teachers for describing and evaluating software to determine if it will be useful to them in teaching music? First, a wide variety of K-12 level music software applications should be available in college and university music computer laboratories for music education students to explore. Second, music education students should gain experience in formally evaluation software, and deciding if and how software can be used to review or broaden instructional objectives. The Evaluator's Guide for Microcomputer-Based Instructional Packages contains a form that can be used or adapted for this purpose (Computer Technology Program, 1988, pp. 21-28). Third, music education students should practice writing clear, complete instructions for assignments, including everything from the goal of the assignment, how to boot up the program, how to save work, and how to shut the program and computer down.

How can teacher trainers prepare pre-service and in-service music teachers for setting up their own computer music/MIDI laboratories? Whether the college or university computer music laboratory is state-of-the-art or "bare bones," in-service and pre-service teachers need to be presented with a variety of sizes and configurations in real settings and on paper. Visitations to a variety of school settings as well as home or garage MIDI studios, professional recording studios, and music stores can provide information and perspective. In-service and pre-service teachers might be given an assignment in which they create a computer music/MIDI laboratory on paper for their current or imagined future teaching position. In this assignment, students might provide a complete equipment list with prices, as well as a diagram showing all connections between pieces of equipment. Students might also subscribe to a magazine such as Electronic Musician as a course requirement, so that ongoing, up-to-date information will be available to them even when the course is completed.

Finally, what can be done to prepare pre-service and in-service music teachers for finding funds for the development of computer music/MIDI laboratories, especially when funding from normal budget sources is not available? Students should be taught about funding sources from within and outside of schools. Possibilities for funding range from picking up stray pieces of equipment through classified ads, garage sales, and flea markets (and hopefully being reimbursed by music boosters or the school) to receiving a grant for developing a state-of-the-art MIDI classroom. Students should be taught the basics of writing a grant proposal, since intramural and external competitive grants are becoming more common sources of funding projects in K-12 schools. A (take-home) final examination might consist of writing a grant proposal based upon the assignment described previously, in which the in-service or pre-service teacher envisions a computer music/MIDI laboratory for their current or imagined future teaching position with equipment list, budget, time line for implementation, and a diagram showing how the laboratory would be set up.

Music teachers are used to doing things a little differently, making do with a little less, and not making the top of the priority list. However, regardless of our fiscal resources, technology is a way to help make our instructional dreams come true and to bring attention to music education in a time when support is more forthcoming if a technological component is involved. We will continue to march to the beat of a different drummer, but today it's a drum machine, and that drum machine can help us teach music better, and it doesn't have to cost a lot.

If you would like to receive a set of examples of tutorials and other assignments described in this paper, please contact Dr. Marc R. Dickey, Department of Music, California State University, Fullerton, Fullerton, CA 90631.