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repeat

sequence (writing the motif one step higher or lower)

augmentation (double the note values)

diminution (half the note values)

fragmentation (chop up the motif using only two of the notes e.g. the 2 beginning notes or the 2 last notes)

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IMPLEMENTING COMPOSITION IN THE CLASSROOM I am often asked "how do I implement composition in my classroom?" by teachers at conferences, conventions and workshops. Some concerns I often hear are...

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Creating interesting introductions

Exploring repetition contrast to
create variety

Working with balance (fading)
and panning (left-to-right placement
of sound in a stereo field)

Developing endings

Refining transitions between sections.

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The Composers Workshop- An Approach to Composing in the CLassroom

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The hippest music teachers help their students create original music. But what exactly does that mean? What even is composition? In this post, I take a look at two innovators in music education and try to arrive at an answer.

Matt McLean is the founder of the amazing Young Composers and Improvisers Workshop. He teaches his students composition using a combination of Noteflight, an online notation editor, and the MusEDLab's own aQWERTYon, a web app that turns your regular computer keyboard into an intuitive musical interface.

Matt explains:

Participating students in YCIW as well as my own students at LREI have been using Noteflight for over 6 years to compose music for chamber orchestras, symphony orchestras, jazz ensembles, movie soundtracks, video game music, school band and more - hundreds of compositions.

Before the advent of the aQWERTYon, students needed to enter music into Noteflight either by clicking with the mouse or by playing notes in with a MIDI keyboard. The former method is accessible but slow; the latter method is fast but requires some keyboard technique. The aQWERTYon combines the accessibility of the mouse with the immediacy of the piano keyboard.

For the first time there is a viable way for every student to generate and notate her ideas in a tactile manner with an instrument that can be played by all. We founded Young Composers & Improvisors Workshop so that every student can have the experience of composing original music. Much of my time has been spent exploring ways to emphasize the "experiencing" part of this endeavor. Students had previously learned parts of their composition on instruments after their piece was completed. Also, students with piano or guitar skills could work out their ideas prior to notating them. But efforts to incorporate MIDI keyboards or other interfaces with Noteflight in order to give students a way to perform their ideas into notation always fell short.

The aQWERTYon lets novices try out ideas the way that more experienced musicians do: by improvising with an instrument and reacting to the sounds intuitively. It's possible to compose without using an instrument at all, using a kind of sudoku-solving method, but it's not likely to yield good results. Your analytical consciousness, the part of your mind that can write notation, is also its slowest and dumbest part. You really need your emotions, your ear, and your motor cortex involved. Before computers, you needed considerable technical expertise to be able to improvise musical ideas, and remember them long enough to write them down. The advent of recording and MIDI removed a lot of the friction from the notation step, because you could preserve your ideas just by playing them. With the aQWERTYon and interfaces like it, you can do your improvisation before learning any instrumental technique at all.

Student feedback suggests that kids like being able to play along to previously notated parts as a way to find new parts to add to their composition. As a teacher I am curious to measure the effect of students being able to practice their ideas at home using aQWERTYon and then sharing their performances before using their idea in their composition. It is likely that this will create a stronger connection between the composer and her musical idea than if she had only notated it first.

Those of us who have been making original music in DAWs are familiar with the pleasures of creating ideas through playful jamming. It feels like a major advance to put that experience in the hands of elementary school students.

Matt uses progressive methods to teach a traditional kind of musical expression: writing notated scores that will then be performed live by instrumentalists. Matt's kids are using futuristic tools, but the model for their compositional technique is the one established in the era of Beethoven.

(I just now noticed that the manuscript Beethoven is holding in this painting is in the key of D-sharp. That's a tough key to read!)

Other models of composition exist. There's the Lennon and McCartney method, which doesn't involve any music notation. Like most untrained rock musicians, the Beatles worked from lyric sheets with chords written on them as a mnemonic. The "lyrics plus chords" method continues to be the standard for rock, folk and country musicians. It's a notation system that's only really useful if you already have a good idea of how the song is supposed to sound.

Lennon and McCartney originally wrote their songs to be performed live for an audience. They played in clubs for several years before ever entering a recording studio. As their career progressed, however, the Beatles stopped performing live, and began writing with the specific goal of creating studio recordings. Some of those later Beatles tunes would be difficult or impossible to perform live. Contemporary artists like Missy Elliott and Pharrell Williams have pushed the Beatles' idea to its logical extreme: songs existing entirely within the computer as sequences of samples and software synths, with improvised vocals arranged into shape after being recorded. For Missy and Pharrell, creating the score and the finished recording are one and the same act.

Is it possible to teach the Missy and Pharrell method in the classroom? Alex Ruthmann, MusEDLab founder and my soon-to-be PhD advisor, documented his method for doing so in 2007.

As a middle school general music teacher, I've often wrestled with how to engage my students in meaningful composing experiences. Many of the approaches I'd read about seemed disconnected from the real-world musicality I saw daily in the music my students created at home and what they did in my classes. This disconnect prompted me to look for ways of bridging the gap' between the students' musical world outside music class and their in-class composing experiences.

It's an axiom of constructivist music education that students will be most motivated to learn music that's personally meaningful to them. There are kids out there for whom notated music performed on instruments is personally meaningful. But the musical world outside music class usually follows the Missy and Pharrell method.

[T]he majority of approaches to teaching music with technology center around notating musical ideas and are often rooted in European classical notions of composing (for example, creating ABA pieces, or restricting composing tasks to predetermined rhythmic values). These approaches require students to have a fairly sophisticated knowledge of standard music notation and a fluency working with rhythms and pitches before being able to explore and express their musical ideas through broader musical dimensions like form, texture, mood, and style.

Noteflight imposes some limitations on these musical dimensions. Some forms, textures, moods and styles are difficult to capture in standard notation. Some are impossible. If you want to specify a particular drum machine sound combined with a sampled breakbeat, or an ambient synth pad, or a particular stereo image, standard notation is not the right tool for the job.

Common approaches to organizing composing experiences with synthesizers and software often focus on simplified classical forms without regard to whether these forms are authentic to the genre or to technologies chosen as a medium for creation.

There is nothing wrong with teaching classical forms. But when making music with computers, the best results come from making the music that's idiomatic to computers. Matt McLean goes to extraordinary lengths to have student compositions performed by professional musicians, but most kids will be confined to the sounds made by the computer itself. Classical forms and idioms sound awkward at best when played by the computer, but electronic music sounds terrific.

The middle school students enrolled in these classes came without much interest in performing, working with notation, or studying the classical music canon. Many saw themselves as "failed" musicians, placed in a general music class because they had not succeeded in or desired to continue with traditional performance-based music classes. Though they no longer had the desire to perform in traditional school ensembles, they were excited about having the opportunity to create music that might be personally meaningful to them.

Here it is, the story of my life as a music student. Too bad I didn't go to Alex's school.

How could I teach so that composing for personal expression could be a transformative experience for students? How could I let the voices and needs of the students guide lessons for the composition process? How could I draw on the deep, complex musical understandings that these students brought to class to help them develop as musicians and composers? What tools could I use to quickly engage them in organizing sound in musical and meaningful ways?

Alex draws parallels between writing music and writing English. Both are usually done alone at a computer, and both pose a combination of technical and creative challenges.

Musical thinking (thinking in sound) and linguistic thinking (thinking using language phrases and ideas) are personal creative processes, yet both occur within social and cultural contexts. Noting these parallels, I began to think about connections between the whole-language approach to writing used by language arts teachers in my school and approaches I might take in my music classroom.

In the whole-language approach to writing, students work individually as they learn to write, yet are supported through collaborative scaffolding-support from their peers and the teacher. At the earliest stages, students tell their stories and attempt to write them down using pictures, drawings, and invented notation. Students write about topics that are personally meaningful to them, learning from their own writing and from the writing of their peers, their teacher, and their families. They also study literature of published authors. Classes that take this approach to teaching writing are often referred to as "writers' workshops"... The teacher facilitates [students'] growth as writers through minilessons, share sessions, and conferring sessions tailored to meet the needs that emerge as the writers progress in their work. Students' original ideas and writings often become an important component of the curriculum. However, students in these settings do not spend their entire class time "freewriting." There are also opportunities for students to share writing in progress and get feedback and support from teacher and peers. Revision and extension of students' writing occur throughout the process. Lessons are not organized by uniform, prescriptive assignments, but rather are tailored to the students' interests and needs. In this way, the direction of the curriculum and successive projects are informed by the students' needs as developing writers.

Alex set about creating an equivalent "composers' workshop," combining composition, improvisation, and performing with analytical listening and genre studies.

The broad curricular goal of the composers' workshop is to engage students collaboratively in:

Organizing and expressing musical ideas and feelings through sound with real-world, authentic reasons for and means of composing

Listening to and analyzing musical works appropriate to students' interests and experiences, drawn from a broad spectrum of sources

Studying processes of experienced music creators through listening to, performing, and analyzing their music, as well as being informed by accounts of the composition process written by these creators.

Alex recommends production software with strong loop libraries so students can make high-level musical decisions with "real" sounds immediately.

While students do not initially work directly with rhythms and pitch, working with loops enables students to begin composing through working with several broad musical dimensions, including texture, form, mood, and affect. As our semester progresses, students begin to add their own original melodies and musical ideas to their loop-based compositions through work with synthesizers and voices.

As they listen to musical exemplars, I try to have students listen for the musical decisions and understand the processes that artists, sound engineers, and producers make when crafting their pieces. These listening experiences often open the door to further dialogue on and study of the multiplicity of musical roles' that are a part of creating today's popular music. Having students read accounts of the steps that audio engineers, producers, songwriters, film-score composers, and studio musicians go through when creating music has proven to be informative and has helped students learn the skills for more accurately expressing the musical ideas they have in their heads.

Alex shares my belief in project-based music technology teaching. Rather than walking through the software feature-by-feature, he plunges students directly into a creative challenge, trusting them to pick up the necessary software functionality as they go. Rather than tightly prescribe creative approaches, Alex observes the students' explorations and uses them as opportunities to ask questions.

I often ask students about their composing and their musical intentions to better understand how they create and what meanings they're constructing and expressing through their compositions. Insights drawn from these initial dialogues help me identify strategies I can use to guide their future composing and also help me identify listening experiences that might support their work or techniques they might use to achieve their musical ideas.

Some musical challenges are more structured-Alex does "genre studies" where students have to pick out the qualities that define techno or rock or film scores, and then create using those idioms. This is especially useful for younger students who may not have a lot of experience listening closely to a wide range of music.

Rather than devoting entire classes to demonstrations or lectures, Alex prefers to devote the bulk of classroom time to working on the projects, offering "minilessons" to smaller groups or individuals as the need arises.

Teaching through minilessons targeted to individuals or small groups of students has helped to maintain the musical flow of students' compositional work. As a result, I can provide more individual feedback and support to students as they compose. The students themselves also offer their own minilessons to peers when they have designed to teach more about advanced features of the software, such as how to record a vocal track, add a fade-in or fade-out, or copy their musical material. These technology skills are taught directly to a few students, who then become the experts in that skill, responsible for teaching other students in the class who need the skill.

Not only does the peer-to-peer learning help with cultural authenticity, but it also gives students invaluable experience with the role of teacher.

One of my first questions is usually, "Is there anything that you would like me to listen for or know about before I listen?" This provides an opportunity for students to seek my help with particular aspects of their composing process. After listening to their compositions, I share my impressions of what I hear and offer my perspective on how to solve their musical problems. If students choose not to accept my ideas, that's fine; after all, it's their composition and personal expression... Use of conferring by both teacher and students fosters a culture of collaboration and helps students develop skills in peer scaffolding.

Alex recommends creating an online gallery of class compositions. This has become easier to implement since 2007 with the explosion of blog platforms like Tumblr, audio hosting tools like SoundCloud, and video hosts like YouTube. There are always going to be privacy considerations with such platforms, but there is no shortage of options to choose from.

Once a work is online, students can listen to and comment on these compositions at home outside of class time. Sometimes students post pieces in progress, but for the most part, works are posted when deemed "finished" by the composer. The online gallery can also be set up so students can hear works written by participants in other classes. Students are encouraged to listen to pieces published online for ideas to further their own work, to make comments, and to share these works with their friends and family. The realworld publishing of students' music on the Internet seems to contribute to their motivation.

Assessing creative work is always going to be a challenge, since there's no objective basis to assess it on. Alex looks at how well a student composer has met the goal of the assignment, and how well they have achieved their own compositional intent.

The word "composition" is problematic in the context of contemporary computer-based production. It carries the cultural baggage of Western Europe, the idea of music as having a sole identifiable author (or authors.) The sampling and remixing ethos of hip-hop and electronica are closer to the traditions of non-European cultures where music may be owned by everyone and no one. I've had good results bringing remixing into the classroom, having students rework each others' tracks, or beginning with a shared pool of audio samples, or doing more complex collaborative activities like musical shares. Remixes are a way of talking about music via the medium of music, and remixes of remixes can make for some rich and deep conversation. The word "composition" makes less sense in this context. I prefer the broader term "production", which includes both the creation of new musical ideas and the realization of those ideas in sound.

So far in this post, I've presented notation-based composition and loop-based production as if they're diametrical opposites. In reality, the two overlap, and can be easily combined. A student can create a part as a MIDI sequence and then convert it to notation, or vice versa. The school band or choir can perform alongside recorded or sequenced tracks. Instrumental or vocal performances can be recorded, sampled, and turned into new works. Electronic productions can be arranged for live instruments, and acoustic pieces can be reconceived as electronica. If a hip-hop track can incorporate a sample of Duke Ellington, there's no reason that sample couldn't be performed by a high school jazz band. The possibilities are endless.

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The hippest music teachers help their students create original music. But what exactly does that mean? What even is composition? In this post, I take a look at two innovators in music education and try to arrive at an answer. Matt McLean is the founder of the amazing Young Composers and Improvisers Workshop.

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Over 200 lesson plans for music teachers!

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The Arts Grades 1-8

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Download free sound effects.Stuart Duffield has been creating audio professionally for 18 years. Having worked predominately in the Games Industry, he has produced a wide range of audio for various worldwide clients and numerous high profile projects. Based in the UK, Stuart has a history of synthesising, recording, designing, processing and editing audio of all types. Having worked in-house for a number of major Game Developers, Stuart currently works on a freelance / contract basis. This involves audio design, music composition and voice production in various forms - for Games, Animation, TV and Film.

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Free Sound Clips and Music for Presentations!

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Download free PowerPoint backgrounds and templates - Brainy Betty

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It´s the best and easiest way to find new and interesting music, audio recordings, people and friends from around the world.

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All music in this online collection created by Jason Shaw.  Released under Creative Commons license 3.0 You are free to use the music (even for commercial purposes) as long as you credit “Music from - audionautix.com”OR provide a link to this website from yours. Music must be part of some other created works. No further permission is required.

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All music in this online collection created by Jason Shaw. Released under Creative Commons License 3.0. You are free to use the music (even for commercial purposes) as long as you provide a link to this website from yours OR credit us with, "music by audionautix.com". Must be part some other created works.

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Download & Streaming : Audio Archive : Internet Archive

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Download or listen to free music and audio This library contains recordings ranging from alternative news programming, to Grateful Dead concerts, to Old Time Radio shows, to book and poetry readings, to original music uploaded by our users. Many of these audios and MP3s are available for free...

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Producer Planet: loops, samples, sounds and stock music for your music production

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Whether in the form of loops, soundtracks, virtual instruments or entire songs, sophisticated content brings audio productions to a whole new level. Producer Planet offers a range of content and features to help you make the most from your projects.

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Audacity is one of the most popular free cross-platform audio editing programs.  It’s great for chopping up existing recordings, changing the key of a song, speeding up/slowing down tracks and creating fade ins/outs.  The latest beta version (1.3.9 at the time of writing) even includes a vocal “remover”.  Audacity doesn’t include video, loops or MIDI features but it has some specific effects not found in some of the other programs.   It works really well as a “companion” application and is an ideal free solution for podcasting in the classroom.

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Audacity is a free, easy-to-use, multi-track audio editor and recorder for Windows, Mac OS X, GNU/Linux and other operating systems.

Audacity is free software, developed by a group of volunteers and distributed under the GNU General Public License (GPL). Programs like Audacity are also called open source software, because their source code is available for anyone to study or use. There are thousands of other free and open source programs, including the Firefox web browser, the LibreOffice or Apache OpenOffice office suites and entire Linux-based operating systems such as Ubuntu

Features

Record live audio

Record computer playback on any Windows Vista or later machine

Convert tapes and records into digital recordings or CDs

Edit WAV, AIFF, FLAC, MP2, MP3 or Ogg Vorbis sound files

AC3, M4A/M4R (AAC), WMA and other formats supported using optional libraries

Cut, copy, splice or mix sounds together

Numerous effects including change the speed or pitch of a recording

And more!

GNU General Public License version 2.0 (GPLv2)

4.6 out of 5 stars

Additional Project Details

Linux, BSD, Mac, Windows

Korean, French, Ukrainian, Dutch, Persian, Polish, Slovene, Macedonian, Czech, Afrikaans, Finnish, Hebrew, Catalan, Bengali, Greek, Vietnamese, English, Portuguese, Slovak, Chinese (Traditional), Belarusian, Bulgarian, Swedish, Turkish, Hindi, Indonesian, Norwegian, Brazilian Portuguese, Chinese (Simplified), Danish, Bosnian, German, Japanese, Spanish, Russian, Arabic, Hungarian, Basque (Euskara), Georgian

End Users/Desktop

X Window System (X11), Win32 (MS Windows), wxWidgets, GTK+, Carbon (Mac OS X)

C++

C++ Audio Editing Software ,C++ Audio Mixers ,C++ Audio Analysis Software ,C++ Audio Recording Software

2000-05-28

Free, open source, cross-platform audio software. Audacity is an easy-to-use, multi-track audio editor and recorder for Windows, macOS, GNU/Linux and other operating systems. Developed by a group of volunteers as open source. Audacity can record live audio through a microphone or mixer, or...

This is the official website of the GNU Image Manipulation Program (GIMP). GIMP is a cross-platform image editor available for GNU/Linux, OS X, Windows and more operating systems. It is free software, you can change its source code and distribute your changes. Whether you are a graphic designer,...

Built on the solid open-source foundation of Audacity®, Audiotonic Pro is an easy-to-use, multi-track audio editor and recorder for the Windows 10 Platform. It provides you with a full set of tools that you can use to edit audio files and add effects through a clear and accessible interface....

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Download Audacity for free. A free multi-track audio editor and recorder. Audacity is a free, easy-to-use, multi-track audio editor and recorder for Windows, Mac OS X, GNU/Linux and other operating systems. Audacity is free software, developed by a group of volunteers and distributed under the GNU General Public License (GPL).

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If you’re after a user-friendly interface that incorporates multiple functions, GarageBand (Mac only) has long been the ideal solution.  It comes already installed on your Mac, it’s very intuitive and comes with lots of great ready-made loops.  The team at Apple have also built in some smart extras like a podcasting template, instrumental video lessons and easy access to other media on your computer, such as your iTunes library, photo collection and movies.

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GarageBand for iOS has everything you need to play, record and share incredible music on your iPad or iPhone - now including Sound Library.

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Record student performances for archiving purposes

Record student performances for instant feedback and student reflection

Create original compositions

Arrange songs

Make backing tracks

Change the key of an existing song

Remove vocals from a song

Edit a song for dance class/performance

Make a podcast

Engage in digital storytelling

Invent soundscapes

Compose to film

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Experimental vocalist and artist Tanya Tagaq won the Polaris Prize for best Canadian album in 2014, for Animism. Those who thought she had then made her definitive artistic statement are in for a surprise. Also in for a shock are those who thought international success, playing to major festivals and packed houses all over the world, would lead to a mellower sound, or a more laid back approach. Tagaq follows up Animism with Retribution, an even more musically aggressive, more aggressively political, more challenging, more spine tingling, more powerful masterpiece. There are those who find comfort in the bland sweetness of middle of the road love songs designed to soothe. But then there are music fans that find comfort in honesty, blazing human talent and free, intelligent expression of passion. This album is not dinner party ambience music. This album is a cohesive, whole statement. Why sugarcoat it? This album is about rape. Rape of women, rape of the land, rape of children, despoiling of traditional lands without consent.

MORE

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Tanya Tagaq - Online home of celebrated Canadian (Inuk) throat singer, composer, visual artist, advocate, writer and public speaker.

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Tanya Tagaq is a Canadian (Inuk) throat singer, composer, visual artist, advocate, writer and public speaker from Cambridge Bay (Iqaluktuutiaq), Nunavut, Canada. Among her many awards and accolades, Tanya is the highly celebrated winner of Polaris Prize for best Canadian album in 2014, for her album Animism.

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William Prince finds new inspiration from Neil Young https://t.co/1vsHtwMih7

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Juno Award winning band, Quantum Tangle - Tiffany Ayalik and Greyson Gritt

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"Aboriginal roots-rockers Digging Roots have a message to share with the confused, fearful world we seem to be living in. Their new song, "AK-47" is a blues stomper for peace and love. Singer Shoshona Kish wants to fill the titular firearm with hope and flowers, while the video stars her as a benevolent warrior amidst the Canadian wilderness as images of grenades and soldiers fly past.

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This is a collection of front line songs about unity and resistance - some brand new and some classics - and I want to put them to work. These are songs I've been writing for over fifty years, and what troubles people today are still the same damn issues from 30-40-50 years ago: war, oppression, inequity, violence, rankism of all kinds, the pecking order, bullying, racketeering and systemic greed. Some of these songs come from the other side of that: positivity, common sense, romance, equity and enthusiasm for life.

I've found that a song can be more effective than a 400-page textbook. It's immediate and replicable, portable and efficient, easy to understand - and sometimes you can dance to it. Effective songs are shared, person-to-person, by artists and friends, as opposed to news stories that are marketed by the fellas who may own the town, the media, the company store and the mine. I hope you use these songs, share them, and that they inspire change and your own voice.

It might seem strange that along with the new ones, I re-recorded and updated some of these songs from the past using current technologies and new instrumentations - giving a new life to them from today's perspective. The thing is, some of these songs were too controversial for radio play when they first came out, so nobody ever heard them, and now is my chance to offer them to new generations of like-minded people dealing with these same concerns. It's like the play is the same but the actors are new.

I really want this collection of songs to be like medicine, to be of some help or encouragement, to maybe do some good. Songs can motivate you and advance your own ideas, encourage and support collaborations and be part of making change globally and at home. They do that for me and I hope this album can be positive and provide thoughts and remedies that rock your world and inspire new ideas of your own. ~ Buffy

NEWS

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Buffy Sainte-Marie's highly anticipated brand new album Power in the Blood is available in stores now!

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This is a collection of front line songs about unity and resistance - some brand new and some classics - and I want to put them to work. These are songs I've been writing for over fifty years, and what troubles people today are still the same damn issues from 30-40-50 years ago: war, oppression, inequity, violence, rankism of all kinds, the pecking order, bullying, racketeering and systemic greed.

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Here I am, as I am;
In this world, as it is;
Supported by the planet;
Floating in the multiverse;
Awake;
To my state of being;
Whoosh (exhale)

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Lightner Method * The Language of Wholeness * Wholeness in Twelve

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How you are in the world at any given moment determines what happens in your structure, your coordination and your learning. Well-being or your relationship with yourself and the world around you...

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*Founder Jennifer Moir, Professor at Western University.
*Join/Become a Member!
*Great Programs/Blogs on How to Incorporate Holistic Practice into Vocal Pedagogy
"The Center For Sound Music Education fosters well-being, joy and beauty in
the world through the creation of artistic, educational opportunities and resources
that empower students and educators."

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​​The Center For Sound Music Education fosters well-being, joy and beauty in
the world through the creation of artistic, educational opportunities and resources
that empower students and educators.

The Center For Sound Music Education fosters well-being, joy and beauty in
the world through the creation of artistic, educational opportunities and resources
that empower students and educators.

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Sound Music Education - Fostering well-being, joy, and beauty in the world.

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​​The Center For Sound Music Education fosters well-being, joy and beauty inthe world through the creation of artistic, educational opportunities and resourcesthat empower students and educators. The Center For Sound Music Education fosters well-being, joy and beauty inthe world through the creation of artistic, educational opportunities and resourcesthat empower students and educators.

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Indigenous and Non-Indigenous connections.

Residential schools

Respectful Representation of Indigenous Voices within curriculum.

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Reconciliation and Education | Starleigh Grass | TEDxWestVancouverED

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A Dialogue with Jan Hare: Professor in Indig. Education for Teacher Education

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Additional Resources for the Lightner Method

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Additional Resources for the Lightner Method

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Lightner Method * The Language of Wholeness * Wholeness in Twelve

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Lightner Method * The Language of Wholeness * Wholeness in Twelve

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The Lightner Method is a pedagogy for new paradigms of well-being, stucture, function and learning. Relieve pain, move with ease, think constructively, teach with a pedagogy of empowerment.

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Principles of the co-ordination system and the suspension system​

Develop deep, personal embodiment of anatomical principles.

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Babette Lightner Residencies - Lightner Method

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Babette Lightner- The Pedagogy of Empowerment 

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Babette Lightner- The Pedagogy of Empowerment 

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The pedagogy is based on three pillars: ​

1. Curiosity about how humans work to learn, to thrive, to sing. ​

2. Openness (Willingness) to update inaccurate information, no matter how convinced we are of its accuracy, so that our teaching is as aligned as closely as possible with our current knowledge of how the human system works. ​

3. Clarity that all we have to work with is a current point of view, not the ultimate truth. This point of view is based on the newest science to which we have access. Making curiosity, openness, and clarity the foundation of our educational system allows us to educate teachers, their individual singers, and their choral community as a whole. The Pedagogy as Applied to Movement for Singers.​

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The ultimate goal of this project is to support Arts education across
Ontario by bringing philosophical statements and learning expectations
from the arts curriculum policy document to life through real-time
illustrations of effective teaching and meaningful learning experiences.
The viewers’ guide highlights some of the main emphases contained
within each segment. The videos are snapshots of authentic arts classes
illustrating many of the foundational underpinnings of the curriculum.

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The Learning Exchange;​Engage. Motivate. Change

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The Learning Exchange;​Engage. Motivate. Change

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Various videos demonstrating fun and engaging ways to implement within the music classroom.​

For instance: Music Interpretation of Poetry, Band Foundations, Music and Technology, Exploring Non-Traditional Sounds, Keyboard Improvisation, Vocal Warm-ups, Integrating Music with Business Studies, etc.​

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The lessons highlight the importance of the learning process rather than focusing on a finished product.

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Curriculum Documents for both the Elementary and Secondary Grades in Ontario.​

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Performance for the Missing and Murdered Indigenous Women and Children

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Performance for Missing and Murdered Indigenous Women

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"We Are the Halluci Nation" | A Tribe Called Red

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Forgotten Aboriginal Musicians Survived Residential Schools, Police Brutality To Make These Stunning Songs

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When Willie Thrasher first hit concert stages in the Northwest Territories during the late 1960s, his band the Cordells played Kinks and the Rolling Stones covers. That is, until an old man at a winter dance gig suggested he produce original music based on his heritage. "I'd never seen this guy before.

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DEEPENING KNOWLEDGE; Resources for and about Aboriginal Education​

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DEEPENING KNOWLEDGE; Resources for and about Aboriginal Education​

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For Example: Forgotten Aboriginal Musicians Survived Residential Schools, Police Brutality To Make These Stunning Songs​

By Gregory Adams, December 2014; Huffington Post​

An article on Native North America 1: Aboriginal Folk Rock.  The article tells the stories of several musicians involved with the project, a collection of music from First Nations, Inuit and Metis artists.​

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DEEPENINGKNOWLEDGE :: Music :: Deepening Knowledge: Aboriginal Peoples Curriculum Database

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In this episode of MTV's series "Rebel Music" viewers are given a chance to see "Native America". The episode features young native artists Frank Waln, Inez Jasper, Mike Cliff and Nataanii Means. As they talk about their experiences, communities and music, each of these artists helps to paint the changing landscape for native youth across Canada and the United States.

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Free programs for students to engage with and improve their musical literacy and performance. For example:​

The Recorder program is a great way to use your interactive whiteboard with your recorder classes. The programs includes 23 songs, an interactive fingering chart and fingering worksheet, as well as a revamped music notation sketch pad.​

StaffWars is a game designed to help beginning and intermediate musicians learn, practice and woodshed the note names of the treble, alto and bass clefs. THE APP for anyone who wants to master these clefs.​

The Rhythm Dictation program randomly creates a rhythm from a range of user selected items such as tempo, rhythms,   number of beats, and how many times the rhythm is played. Suitable for interactive whiteboard use with an entire class or at a computer station for individual work. *** New Version**** Tempo can now be changed mid rhythm instead of the program creating a new one.​

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Good bye Flash! Thanks for 10 years of tinkering, fiddling, bothering and lots of fun. For sentimental purpose you can watch some of my old Flash experiments here.

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-Games Regarding Opera and Composers like Brahms!!

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Hansel & Gretel: Design your own Opera! | Creative Kids Education Foundation

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Parents and children or student groups can experience and enjoy these activities together and learn about opera music and theatre. Music listening guides and music games assist with exploration of the elements of orchestral and opera music. At the end of the story, additional information and resources can be found Backstage at the Opera.

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Note Names: Use the letters of the notes to form words!

Instruments of the Orchestra: A fun new way to see and hear the Instruments of the Orchestra

Composer Timeline: A journey through time featuring classical music and the events of the day.

Composers by Country: An interactive map to explore the composers of the world.

Compose Your Own Music: Compose your own music by dragging notes and rests to place them on the staff.

Match The Rhythm: Work your way through the rhythm patterns and you can become a Rhythm Master!

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-Composers
-Music
-Games
-Resources for Parents to Introduce Classical Music to Children
-Resources for Teachers: Lesson Plans, Activity Sheets

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Welcome Back! Classics for Kids has returned with our new Fun Facts videos, worksheets and lesson plans!https://youtu.be/7BjOMa7NvzIFun Facts: Marian Andersen https://youtu.be/OBnHXKNDqXUFun Facts: Yo-Yo Ma Explore More Composers Learn More Worksheets [...]

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Royalty-free recordings of classical music for use in productions and programs.

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Classical music, royalty free classical music & links to classical music sites - Classical USA

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Classical music resources on the Internet. Find classical music, royalty free classical music and classical music resource here. Royalty free classical music, links to classical music sites.

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Lots of games for students to explore in class or at home.

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*Male Conductor

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*Female Conductor

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Connect your child, student, or classroom with the DSO by placing Flat Beethoven in different places and situations. Cut out Flat Beethoven along the dotted lines and start taking pictures of him in a new environment. Send photos to s.hatler@dalsym.com, and please share any anecdotes or stories about Flat Beethoven’s adventures! This could be a great writing and/or music project for students. Selected photos may be posted on the DSO Kids website, so please let us know if you would prefer that your photo not be posted.

We look forward to seeing and hearing where Beethoven goes!

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Dallas Symphony Orchestra Resources for both Student and Music Teachers

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Dallas Symphony Orchestra Resources for both Student and Music Teachers

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-practice tips
-videos
-DSO Kids Club
-Music Teacher Resources
_Lesson PLans

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A club just for kids

It's never too early to begin to learn about-and love-music. As a member of the DSO Kids Club, kids, grades K-6, receive personal emails, puzzles, games, and information about upcoming events.

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A club just for kids It's never too early to begin to learn about-and love-music. As a member of the DSO Kids Club, kids, grades K-6, receive personal emails, puzzles, games, and information about upcoming events.

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The Young Persons Guide to The Orchestra by Benjamin Britten

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The Young Persons Guide to The Orchestra by Benjamin Britten

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*A Production of the Weill Music Institute.
* Need to log in to play game.
*Free for students to use!

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An enhanced traditional whiteboard using IWB techniques​

Model Note or Music Symbol Writing​

Digital Kodaly Song Shapes​

Teaching Form through images​

Notation Programs for Literacy & Performance (I.e., Finale, Noteflight, MuseScore)​

Google Earth and where composers live.​

IWB and Developing Soundscapes​

Interactive worksheets/listening examples​

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10 Excellent ways to use An Interactive Whiteboard In Your Music Classroom​

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P/J Resources from The University of Ontario Institute of Technology​

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P/J Resources from The University of Ontario Institute of Technology​

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Curriculum Guides​

Kits​

Journals and Magazines​

Featured Websites​

New and Notable Teacher Resource Books​

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Guides: K-12 Teacher Resources: P/J Music

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This guide recommends print, physical and online resources for Education students, including: textbooks, curriculum, kits, videos, online lesson & media collections, websites, themed book lists, and more.

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Additional resources for Music Teachers.​

Ideal to get a look at what other music teachers have done in regard to a specific lesson/unit plan and make accommodations towards one's own classroom.​

Filter by subject matter/strand and grade level​

May help with developing cross-curricular connections!​

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The Lesson Plans Page - Music Lesson Plans, Music Ideas, & Music Activities, Teacher Resources, educator, education resources, printables, worksheets, thematic units | HotChalk Lesson Plans Page

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This username and passwordcombination was not found. Please try again. enter your lesson plans page login: FORGOT PASSWORD EXIT FROM LOGIN or use your social network login: new to lesson plans page? Create an Account

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The Recorder-Quarterly Journal of the Ontario Music Educator's Association​

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The Recorder-Quarterly Journal of the Ontario Music Educator's Association​

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“How To…” articles in any area of music education​

Best Practices – any and all areas of music education practice​

Professional Development​

Curriculum​

Assessment and Evaluation Practices​

Resources​

Community /Classroom Music Making​

Technology​

Philosophy of Music Education​

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Guidelines for Contributors

The Recorder publishes a broad spectrum of scholarly articles and reports in educational foundations in music education, research-based discussions and evolving practices pertinent to the discipline in Ontario. The journal is now peer reviewed by authorities of provincial standing. Authors wishing to submit material for consideration should follow the guidelines printed below.

Text

Submissions must be typed with double spacing throughout and should not normally exceed 4000 words. Please be aware that there is only one space after periods. No upper case CAPS, bold type or underlining for emphasis. Authors should supply an electronic copy, saved as a Text (.txt) file only or as an electronic
e-mail attachment saved as text or as a Word document (.doc) or in Rich Text Format. Other formats such as (.docx) will cause delays in the review of the materials.

Images

Pictures and/or graphics accompanying articles should be sent as digital files or attachments only.
Please do not embed tables, figures, or pictures in article / text.

Scanning

All scans should be at 300 dpi or higher, black and white, and saved as JPEGs, TIFFs or high resolution PDFs only.
Please do not send text files with embedded graphics. Save the graphics separately as per the above.
Label digital graphics files with the author's name, the number sequentially, i.e. Jones1, Jones2, etc. Picture captions should relate to file names.

Style and References

All manuscripts must be prepared according to the style described in the Publication Manual of the American Psychological Association (Sixth Edition). Spelling should conform to Canadian standards such as prescribed in the Gage Canadian Dictionary except in quote material from foreign English language publications. Samples of the format for the "Reference List" are as follows:

Shotton, M. A. (1989). Computer addiction? A study of computer dependency.
London, England: Taylor & Francis.

Light, M. A., & Light, I. H. (2008). The geographic expansion of Mexican immigration in the United States and its implications for local law enforcement. Law Enforcement Executive Forum Journal,
8(1), 73-82.

Short quotations (40 words or fewer) should be incorporated into the body of text with single quotation marks. Longer quotations should be double indented and single spaced. All quoted material must be identified by author, year and page number, e.g. (Mark, 1986, p.172). General ideas and supporting themes must be cited by author and year. All material cited in the body of the submission must be included in the "Reference List".

A brief autobiographical note as to institution affiliation and general duties and interests in music education should be sent as a separate digital file along with a recent photograph (see Images).

All submissions are to be made to the Editor and receipt will be acknowledged. Submissions will be peer reviewed if requested by the author; peer referees are of provincial/national standing in music education. Authors of all submissions accepted for publication must assign the copyright of the material to the OMEA.

For more information, or with questions, contact the Editor, The Recorder:
Dr. Jane Saunders
recorder@omea.on.ca

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The Recorder | Ontario Music Educators' Association

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The Recorder publishes a broad spectrum of scholarly articles and reports in educational foundations in music education, research-based discussions and evolving practices pertinent to the discipline in Ontario. The journal is now peer reviewed by authorities of provincial standing. Authors wishing to submit material for consideration should follow the guidelines printed below.

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Resources from the OMEA​:
You have to activate an account to access this resource, however, there is a search engine that enables the teacher to fine-tune their topic. For instance: ​

Grade level​

Goal​

Lesson Type​

Key Word​

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The OMEA supports Ontario educators by sharing instructional strategies, resources, and best practices through workshops, conferences, journals, and our website. We are the leading Professional Learning Network for Music Educators in Ontario.​

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The OMEA works to communicate with our membership and partner organizations using regular and meaningful tools including electronic and traditional means. This interactive communication furthers our mission of providing support for music educators and quality music programs in Ontario.​

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The OMEA works to communicate with our membership and partner organizations using regular and meaningful tools including electronic and traditional means. This interactive communication furthers our mission of providing support for music educators and quality music programs in Ontario.​

​

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The Ontario Music Educator's Association

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The Ontario Music Educator's Association

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The OMEA supports every child in Ontario receiving a quality music education taught by a qualified music specialist teacher. OMEA advocates for this with Provincial organizations to highlight issues relating to delivering quality music education and the benefits of music for all students. Students learning music build character, learn more about themselves and develop skills that are applicable that prepare them for success in life.​