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https://www.classicalmpr.org/blog/classical-notes/2016/02/12/teaching-kids-to-compose

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https://my.pblworks.org/resource/blog/pbl_in_a_music_program

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https://musedlab.org/groovepizza

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https://www.uncsa.edu/music/organ/high-school-organ.aspx

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https://www.littlekidsrock.org/for-teachers/educators-faq/

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This blog post uses Groove Pizza to visualize trap beats and distinguish trap music from 1960s African-American pop music and the funk music that followed it.

https://wp.nyu.edu/musedlab/2016/07/27/visualizing-trap-beats-with-the-groove-pizza/

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http://midnightmusic.com.au/2014/08/how-to-beatbox-boots-n-cats-and-other-simple-sentences/

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DAW

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A digital audio workstation ( DAW) is an electronic device or application software used for recording, editing and producing audio files. DAWs come in a wide variety of configurations from a single software program on a laptop, to an integrated stand-alone unit, all the way to a highly complex configuration of numerous components controlled by a central computer. Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece.[1]

DAWs are used for the production and recording of music, songs, speech, radio, television, soundtracks, podcasts, sound effects and nearly any other situation where complex recorded audio is needed.

Contents

Early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream (who had made one of the first commercially available digital audio tape recorders in 1977) built what could be considered the first digital audio workstation using some of the most current computer hardware of the time.[1] The Digital Editing System, as Soundstream called it, consisted of a DEC PDP-11/60 minicomputer running a custom software package called DAP (Digital Audio Processor), a Braegen 14"-platter hard disk drive, a storage oscilloscope to display audio waveforms for editing, and a video display terminal for controlling the system. Interface cards that plugged into the PDP-11's Unibus slots (the Digital Audio Interface, or DAI) provided analog and digital audio input and output for interfacing to Soundstream's digital recorders and conventional analog tape recorders. The DAP software could perform edits to the audio recorded on the system's hard disks and provide effects such as crossfades.

By the late 1980s, a number of consumer level computers such as the MSX ( Yamaha CX5M), Apple Macintosh, Atari ST and Commodore Amiga began to have enough power to handle digital audio editing. Engineers used Macromedia's Soundedit, with Microdeal's Replay Professional and Digidesign's "Sound Tools" and "Sound Designer" to edit audio samples for sampling keyboards like the E-mu Emulator II and the Akai S900. Soon, people began to use them for simple two-track audio editing and CD mastering. In 1989, Sonic Solutions released the first professional (48 kHz at 24 bit) disk-based nonlinear audio editing system. The Mac IIfx-based Sonic System, based on research done earlier at George Lucas' Sprocket Systems, featured complete CD premastering, with integrated control of Sony's industry standard U-matic tape-based digital audio editor. This combination of audio software and hardware was the earliest commercial example of what is now referred to as a Digital Audio Workstation or DAW.[citation needed ] In 1994, a company in California named OSC produced a 4-track editing-recorder application called DECK that ran on Digidesign's hardware system, which was used in the production of The Residents' "Freakshow" [LP].

Many major recording studios finally "went digital" after Digidesign introduced its Pro Tools software, modeled after the traditional method and signal flow in most analog recording devices. At this time, most DAWs were Apple Mac based (e.g., Pro Tools, Studer Dyaxis, Sonic Solutions). Around 1992, the first Windows based DAWs started to emerge from companies such as IQS Innovative Quality Software (now SAWStudio), Soundscape Digital Technology, SADiE, Echo Digital Audio, and Spectral Synthesis. All the systems at this point used dedicated hardware for their audio processing.

In 1993, the German company Steinberg released Cubase Audio on Atari Falcon 030. This version brought DSP built-in effects with 8-track audio recording & playback using only native hardware. The first Windows based software-only product, introduced in 1993, was Samplitude (which already existed in 1992 as an audio editor for the Commodore Amiga).

In 1996, Steinberg introduced Cubase VST, which could record and play back up to 32 tracks of digital audio on an Apple Macintosh without need of any external DSP hardware. Cubase not only modelled a tape-like interface for recording and editing, but also modelled the entire mixing desk and effects rack common in analog studios. This revolutionised the DAW world, both in features and price tag, and was quickly imitated by most other contemporary DAW systems.

An integrated DAW consists of a mixing console, control surface, audio converter, and data storage in one device. Integrated DAWs were more popular before commonly available personal computers became powerful enough to run DAW software. As computer power and speed increased and price decreased, the popularity of costly integrated systems with console automation dropped. Systems such as the Orban Audicy became standard production equipment at radio and television stations.

DAW can simply refer to the software itself, but traditionally, a computer-based DAW has four basic components: a computer, either a sound card or audio interface, digital audio editor software, and at least one input device for adding or modifying data. This could be as simple as a mouse (if no external instruments are used) or as sophisticated as a piano-style MIDI controller keyboard or automated fader board for mixing track volumes.

The computer acts as a host for the sound card or audio interface, while the software provides the interface and functionality for audio editing. The sound card/external audio interface typically converts analog audio signals into digital form, and digital back to analog audio when playing it back; it may also assist in further processing of the audio. The software controls all related hardware components and provides a user interface to allow for recording, editing, and playback.

Computer-based DAWs have extensive recording, editing, and playback capabilities (some even have video-related features). For example, musically, they can provide a near-infinite increase in additional tracks to record on, polyphony, and virtual synthesizers or sample-based instruments to use for recording music. A DAW with a sampled string section emulator can be used to add string accompaniment "pads" to a pop song. DAWs can also provide a wide variety of effects, such as reverb, to enhance or change the sounds themselves.

Simple smartphone-based DAWs, called Mobile Audio Workstation (MAWs), are used (for example) by journalists for recording and editing on location. Many are sold on app stores such as the iOS App Store or Google Play.

As software systems, DAWs are designed with many user interfaces, but generally they are based on a multitrack tape recorder metaphor, making it easier for recording engineers and musicians already familiar with using tape recorders to become familiar with the new systems. Therefore, computer-based DAWs tend to have a standard layout that includes transport controls (play, rewind, record, etc.), track controls and a mixer, and a waveform display. Single-track DAWs display only one ( mono or stereo form) track at a time. The term "track" is still used with DAWs, even though there is no physical track as there was in the era of tape-based recording.

Multitrack DAWs support operations on multiple tracks at once. Like a mixing console, each track typically has controls that allow the user to adjust the overall volume, equalization and stereo balance (pan) of the sound on each track. In a traditional recording studio additional rackmount processing gear is physically plugged into the audio signal path to add reverb, compression, etc. However, a DAW can also route in software or use audio plug-ins (for example, a VST plugin) to process the sound on a track.

DAWs are capable of many of the same functions as a traditional tape-based studio setup, and in recent years have almost completely replaced them. Modern advanced recording studios may have multiple types of DAWs in them and it is not uncommon for a sound engineer and/or musician to travel with a portable laptop-based DAW, although interoperability between different DAWs is poor.

Perhaps the most significant feature available from a DAW that is not available in analog recording is the ability to 'undo' a previous action, using a command similar to that of the "undo" button in word processing software. Undo makes it much easier to avoid accidentally permanently erasing or recording over a previous recording. If a mistake or unwanted change is made, the undo command is used to conveniently revert the changed data to a previous state. Cut, Copy, Paste, and Undo are familiar and common computer commands and they are usually available in DAWs in some form. More common functions include the modifications of several factors concerning a sound. These include wave shape, pitch, tempo, and filtering.

Commonly DAWs feature some form of automation, often performed through " envelopes". Envelopes are procedural line segment-based or curve-based interactive graphs. The lines and curves of the automation graph are joined by or comprise adjustable points. By creating and adjusting multiple points along a waveform or control events, the user can specify parameters of the output over time (e.g., volume or pan). Automation data may also be directly derived from human gestures recorded by a control surface or controller. MIDI is a common data protocol used for transferring such gestures to the DAW.

MIDI recording, editing, and playback is increasingly incorporated into modern DAWs of all types, as is synchronization with other audio and/or video tools.

There are countless software plugins for DAW software, each one coming with its own unique functionality, thus expanding the overall variety of sounds and manipulations that are possible. Some of the functions of these plugins include digital effects units which can modify a signal with distortion, resonators, equalizers, synthesizers, compressors, chorus, virtual amp, limiter, phaser, and flangers. Each have their own form of manipulating the soundwaves, tone, pitch, and speed of a simple sound and transform it into something different. To achieve an even more distinctive sound, multiple plugins can be used in layers, and further automated to manipulate the original sounds and mold it into a completely new sample.

There are many free and open-source software programs that can facilitate a DAW. These are often designed to run on a variety of operating systems and are usually developed non-commercially.

The development of digital audio for Linux and BSD fostered technologies such as ALSA, which drives audio hardware, and JACK. JACK allows any JACK-aware audio software to connect to any other audio software running on the system, such as connecting an ALSA- or OSS-driven soundcard to a mixing and editing front-end, like Ardour or Rosegarden. In this way, JACK acts as a virtual audio patch bay, and it can be configured to use a computer's resources in real time, with dedicated memory, and with various options that minimize the DAW's latency. This kind of abstraction and configuration allows DJs to use multiple programs for editing and synthesizing audio streams, or multitasking and duplexing, without the need for analogue conversion, or asynchronous saving and reloading files, and ensures a high level of audio fidelity.

Other open-source programs include virtual synthesizers and MIDI controllers, such as those provided by FluidSynth and TiMidity. Both can load SoundFonts to expand the voices and instruments available for synthesis and expand the ports and channels available to synthesizers. Such virtualization allows users to expand the traditional limitations of ADC- DAC hardware.

The Linux Audio Development (LAD) mailing list is a major driving force in developing standards, such as the LADSPA, DSSI and LV2 plugin architectures. The Virtual Studio Technology (VST) plugin standard is supported as an option by some such programs but is generally implemented as a separate plugin, not a built-in option, due to Steinberg's licensing scheme. Among others, the creators of Audacity provide an optional, somewhat minimalist, VST-to-LADSPA bridge plugin for their software, but it is a separate download.

Multiple DAW developers also offer free versions of their commercial DAWs, with reduced functionality. Examples include Pro Tools First and Studio One Prime.

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A digital audio workstation ( DAW) is an electronic device or application software used for recording, editing and producing audio files. DAWs come in a wide variety of configurations from a single software program on a laptop, to an integrated stand-alone unit, all the way to a highly complex configuration of numerous components controlled by a central computer.

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Groove Pizza is a playful tool for creating grooves using math concepts like shapes, angles, and patterns. Start working with one of the special pizza presets and add/remove toppings to adjust the groove, or click on the Shape Pizza tab and drag various shapes onto the big circle to play and explore math-inspired grooves.

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https://www.google.com/amp/s/www.nytimes.com/2018/05/10/learning/lesson-plans/nine-teaching-ideas-for-using-music-to-inspire-student-writing.amp.html

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This is an article from Paste magazine about 7 student-run record labels that regularly release new music.

https://www.pastemagazine.com/articles/2015/01/7-standout-student-run-record-labels.html

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https://www.google.com/amp/s/www.pinterest.com/amp/pin/286963807477707378/

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https://french.kleinisd.net/clubs__activities/MIDI%20for%20Kids

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When Grammy award-winning composer David Lang was 10 years old, he tapped his music teacher on the shoulder and said: "I want to play in the school band."

The teacher handed him a trombone and that became the musical instrument he played all the way through graduate school.

"This musical instrument changed my life and that's why I'm a composer," said Lang, who won the Pulitzer prize for music in 2008. "All because of my public school."

This Sunday, Lang will premiere the Symphony for a Broken Orchestra in Philadelphia, where he has written music for 400 musicians - from eight to 83-year-olds - who will play broken musical instruments. That's right, broken. More than 1,500 broken musical instruments have been sourced from the dusty corridors of the School District of Philadelphia, which has no budget to fix them.

"If there are 1,500 broken musical instruments, that's 1,500 children who should be playing these instruments and whose lives could be changed," said Lang. "There is something heartbreaking about it."

The idea came about last year when Philadelphia curator Robert Blackson was walking through an untended school in south Philadelphia. Broken pianos, which were huddled together in the gymnasium, caught his eye. It sparked an idea to fix the pianos and get them working again.

"It was the tip of the iceberg," said Blackson, who is the director of Temple Contemporary, an art gallery at Temple University's Tyler School of Art. "I thought: If there are that many broken instruments in this room alone, how many more could there be?"

He contacted the school district's music teachers and began collecting hundreds of the school district's broken instruments. "It kept growing past 1,000 instruments," he said, "and that's when I thought, 'hey, there's something here.'"

Blackson photographed each instrument and uploaded it to their website " Adopt an Instrument ", where anyone can pay a minimum of $50 to sponsor the repair of a musical instrument from the Philadelphia school district.

After each instrument has been repaired, it will be returned to the public school it came from and put back in the hands of students. So far, 500 instruments are being repaired thanks to donations from online sponsors. According to Blackson, they have already raised $280,000. The money will go toward a legacy fund for the Philadelphia school district, "so they will always be able to repair their instruments in perpetuity", said Blackson.
Trump's proposal to end arts endowment is latest chapter in a fraught history
Over the past 10 years, the Philadelphia school district's musical instrument repair fund of $1.3m has been slashed to $50,000. The goal is to raise $1m to replace the original funding cut for the school district's repair fund.

"What was apparent from beginning is that it's as much a social and community project as it is a musical project," said Lang. "These instruments represent something larger than themselves."

But what does a broken musical instrument sound like? It can't be that pleasant. However, the composition Lang has written specifically fits the sounds these instruments make in their broken state. "The point was not to end with a beautiful piece of music," said Lang, "but to raise the money to repair the instruments and get them back into the hands of the children who need them."

Consider it an experimental music composition, something along the lines of John Cage, Tony Conrad or Morton Feldman. "We wanted to make sure everyone who played in this piece is represented in the community, not just give intruments to professional musicians," said Lang.

Among the 400 musicians performing on Sunday, there will be schoolchildren learning to play their first instruments alongside improvisers, jazz, folk and classical musicians and parents. "As a composer, the problem for me is how to write the kind of music that could be played by a wide variety of musicians," he said. "Most of the instructions are not musical notation where you see notes and staffs, its straightforward instructions."

Some of the musicians, for example, have taken a broken double bass, laid it on its side and tapped on it with drumsticks. "Some instruments can only be used for percussive abilities because they're so damaged but they still sound beautiful," said Lang. "It's kind of magical, each player discovers what's unique about the instrument and what it can do."

On top of fixing the musical instruments, which will be returned to the public schools for the fall of 2018, they are also installing "instrument repair kits" in every public school, which can help with minor repairs.

It taps into not only the sustainability of school funding, but institutional funding in general. "In this country, there is not enough money to supply or fix things or continue the institutions we inherited," said Lang. "We are using a piece of music to heal this community."

However, to Lang, this small community project addresses a larger problem. "Today, people are breaking into little tribes and going against each other, but that is the opposite of what everyone learns in music," he said. "Music teaches people how to be better citizens, how to work in a group and how to overcome problems, we need more of that in our world today."
Topics

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What can we learn from an orchestra of broken instruments?

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When Grammy award-winning composer David Lang was 10 years old, he tapped his music teacher on the shoulder and said: "I want to play in the school band." The teacher handed him a trombone and that became the musical instrument he played all the way through graduate school.

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https://sites.google.com/view/richardmaxwell/richardmaxwell-net

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I teach in Gwinnett County, Georgia, one of the largest urban school systems in the country, serving approximately 187,000 students. Our high school music programs had an established music technology curriculum in place and access to the equipment, hardware, and software needed to have a music technology class. I came up with the idea of creating a music technology course at my middle school. My theory was that general population students would be much more interested in this subject than they would be for general music. I presented the idea to my principal and fine arts director. They were both in favor of the idea, but there were a few obstacles. We had no lab, no hardware, no software, no specified class to schedule the students into, and no curriculum.

Undeterred, I pushed ahead. We have several computer labs in our school that teachers can reserve to take their classes to for specifics projects so I went in and reserved one of these labs for every period that I had my 8 th- grade general music class. I had our school's computer tech person push out Audacity onto all of the computers in that lab. I leveraged as many free loop sources and sound generators as I could find online and pushed ahead with teaching the class as I made up lesson plans and activities on the fly. It wasn't what I would call particularly effective instruction, but the students were engaged and interested. Nevertheless, we had no official class to register the students into and still, no curriculum.

Somehow our fine arts director was able to secure the funds to provide the hardware and software to create a music tech lab for my middle school and four other middle schools in our system. I am fortunate to be in a system that was able to supply 32 student workstations with Mac desktop computers, 61 key MIDI keyboards, USB audio interfaces, and a teacher hub to connect all of the workstations. There are very viable ways to create a music technology lab with far fewer resources than what we have, but that is a topic for another post.

While I continued teaching music technology to one section of 8 th graders the following year in a real music lab, we still had no curriculum. I would spend the next two years on working committees to create a curriculum for middle school music technology including student learning objectives and common assessments for our county. I also served on a working committee that created new state performance standards in middle school music technology for the Georgia Department of Education.

As you can see, we really went about this backwards. "Building the plane as we were flying it," so to speak.

A Paradigm Shift

As I worked with colleagues to create these new standards, the most important question we had to answer was, what exactly is music technology? As music education majors, we took pedagogy classes in brass, woodwinds, strings, percussion, voice, guitar, and piano; but nothing involving technology. Coming from a background based primarily on performance, a product-based subject like music technology required a major shift in our educational paradigm. The toughest thing to get past was the idea that we were not teaching anything through technology.

Technology for music teachers is typically used as a tool to teach some other musical concept. In contrast:

" The goal of a Music Technology class should not be to teach theory, piano, guitar or any other musical genre using technology."

The other idea that we had to accept was music technology isn't just about teaching music. Students must also be taught the technology: hardware, DAW, microphones, cables, connectors, acoustics, input vs output, plug-ins, etc. This is the definition that I have used as the basis for all of my standards and curriculum decisions that I think best describes what a music technology class should be teaching:

" Music technology is about creating and capturing sounds then using technology to manipulate, edit and produce a final product to achieve specific artistic and functional goals."

What Is the Benefit for the Students?

I also want to share some information that may help convince administrators and stakeholders that beginning a Music Technology program is a valuable and viable program for the students we serve. Georgia Tech University in Atlanta, GA is one of the most respected technical and engineering colleges in the nation. They began offering a music technology bachelor's degree in the Fall of 2016. When a university wants to start a new degree program, they must get approval from the state Board of Regents.

Dr. Frank Clark chairs the School of Music at Georgia Tech and he shared some of the data that he collected for his presentation to the Board of Regents. Burning Glass Technologies was contracted to collect data on employment trends. They tracked changes in the numbers of job postings in Georgia and nationally from 2007 to 2012 requiring a bachelor's degree with core skills tied closely to music technology. Nationally, there was a 225% growth in postings from 2007 to 2012. Within Georgia, there was an even stronger growth of 250%.

In 2017 Atlanta's WSBTV produced a show called "Georgia Goes Hollywood." Statistics in this program reported that the Georgia music industry is currently estimated to support almost $9 billion in economic output, compensation, 85,000 employees with billions of dollars in wages, salaries, and benefits. In addition, for state and local government combined, the movie, media and music industry is creating millions of dollars in revenues. These numbers have basically doubled in the last 5 years and the job growth is showing no signs of slowing down.

From the standpoint of providing students with an academic program that leads to a viable and sustainable path to college and a professional career, music technology is one of the fastest growing industries in the nation.

Reaching More Students

Furthermore, and I think most importantly, music technology programs in our middle and secondary schools are serving what is currently an underserved population. The students that I have in my music technology classes are not in our guitar, piano, band, orchestra or choir programs. I believe that the students who want to learn who to play an instrument or learn to sing in a choir are going to join those programs, but there are many students who have no interest in doing that. It's not that these students don't enjoy music. We know that they enjoy music because they are human beings, but most schools do not currently offer an option for these students. Music technology classes provide another opportunity to expose students to music education who would not otherwise be enrolled in a music class.

If you are convinced, or just curious, that starting a music technology program would be worth pursuing at your school, check out part 2 of my post where I will dig into the NAfME National Standards for Music Technology and how that can be used to design your local standards and instructional plan.

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What Is a Music Technology Class (and Why Should I Teach It)? | SmartMusic

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I teach in Gwinnett County, Georgia, one of the largest urban school systems in the country, serving approximately 187,000 students. Our high school music programs had an established music technology curriculum in place and access to the equipment, hardware, and software needed to have a music technology class.

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https://mustech.net/2016/04/mid-week-lesson-pizza-groove-will-rock/

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This looks fun.

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PBL - Ukulele Building at JKCS Woodstock