 Technology has always influenced the musical world and redefined parameters for composition, both in the electronic and acoustic music. A simple example within my own world can be seen with keyboard instruments where the smallest harpsichord had 48 keys while the modern piano has 88 keys, widening the range of notes that can be used in a keyboard composition. There is a parallel with this in new technology and much music-making is now easily created using computers and software. As teachers, we can create new opportunities for musical learning through technology and in teacher-speak, the TPACK framework helps us to understand how to incorporate this into the classroom environment. In his book Music Technology and Education: Amplifying Musicality (2015), Andrew Brown discusses three metaphors of technology in music education that fall into the TPACK model:- 'technology as a musical tool'; 'technology as a musical medium'; and 'technology as a musical instrument'. ‘Technology as a musical tool’ is easily implemented and already widely used in music classrooms across the world. In my own teaching, I've used programs such as Auralia which mimic and extend traditional aural exercises help to increase a student's musical understanding and musical intelligence. ‘Technology as a musical medium’ refers to the type of technology which enables an activity and sometimes has more capability, depending on the student, to capture and convey musical ideas. An example of this is composition which, in Western music, is traditionally notated on paper, but now can be easily (and some say, easier) notated using software such as Sibelius. I prefer pencil and paper but regularly use Sibelius and find that students can get a result quickly with this software. Both of these metaphors have enhanced music education. In the video below, Stephen Heppell discusses the creative ways that technology has been incorporated into the classroom. Although these are not music-specific, it does give the feeling that anything is possible. David Price below discusses the way technology empowers learning, including music-specific examples such as collaborating online, creating works for high visibility and removing the 'middle-man', which has had a large impact on the music industry. Anyway, back to Amplifying Musicality...
Of Brown's three metaphors, ‘technology as a musical instrument’ is the most controversial for me, requiring a change in definition as to what makes a musician. Traditional music requires skilled, practised musicians to play on musical instruments of quality, conveying sound that sits within a pre-determined scale system. There is an argument that the same can be achieved using digital technology, even though 'immediate gratification with little effort is possible' (Brown, 2015). Technology can create new opportunities but these opportunities are not necessarily the most artistic or true to the Western music tradition. For me, the issue in re-defining technology as a musical instrument, capable of artistic expression, is that it can remove the idea of the live musician who uses body movement to produce an expressive, accurately-rendered, personally-interpreted performance taken from a rich range of repertoire. Most digital music is created pre-performance not in a live situation and therefore is composed not performed. Easy way outs such as replacing orchestral accompaniment with digital orchestras for theatrical shows lack musical collaboration (and joy) and favours efficiency. In the context of a curriculum, if definitions of music-making are to be broadened to include digital music-making, it must include the experience of a musician as a live performer within the digital music context. In this way, ‘technology as a musical tool’ types of software like Auralia and ‘technology as a musical medium’ types of software like Sibelius also remain relevant, because it develops the necessary musicianship skills needed for live musical performances. In my ideal world, teaching music students to value live performance should then hopefully translate into adults who value the richness of live performance.
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Wide Open Sky9/4/2016
Technology course6/4/2016 Today, I've begun another Coursera course, this time run by James Humberstone from the Con (USyd), on technology in music education. Technology is the vehicle by which I'm even able to undertake this course, so I'm already a convert of sorts. It's great being able to study while doing mundane activities like cooking and driving. I love that my paella can continue to simmer while I listen to Dr Humberstone's slickly-produced exploration into three Sydney schools' attitudes towards technology and pedagogy, though I'm not sure if I'm wearing Fair Trade clothing or not (sorry Dr Humberstone). I'm looking forward to the next module in the course. For Dr Humberstone's course, go to https://www.coursera.org/learn/music-education/home/welcome For more Coursera courses, go to www.coursera.org For my obligatory video, here's how to make paella. Woody - a short film 3/4/2016
Here's a gorgeous short film by the talented Stuart Bowen. I was lucky enough to be asked to play for some of this, it's bit exciting that my hands have been seen at so many film festivals!
"Ever since he was a child, Woody has dreamt of playing piano. The problem is that he only has wooden paddles for hands. Stuck in a job he doesn't want, Woody spends his days dreaming of being a concert pianist. His dreams are big…but they're about to get out of hand." Woody is a stop-motion animation shot in Sydney, Australia (2013). WOODY from Stuart Bowen on Vimeo. More reviews29/3/2016 Here's a couple of reviews I've written for The Studio magazine by the MTA NSW.
Mastering the Piano Levels 1 to 5 from the Lang Lang Piano Academy published by Faber Music (2014) Purrfect Practice Technique Trainer 1 by Jackie Sharp (self-published) 2015. www.purrfectpractice.com.au So you want to be a studio teacher?17/6/2015 You love music, love students, love piano, and would love to bring it all together by establishing a studio practise. Fabulous! Here's a basic list of considerations to help you out, and hopefully we'll meet at some professional event in the future.
Qualifications: Trinity, AMEB studio teaching diplomas; coursework in studio pedagogy via universities. Advertising: Free online; MTA; newspaper; local schools; word of mouth; biography, resume, recommendations; who/where is your market? Professional practise: Teaching philosophy/statement; networks eg MTA, Collegiate of Music Educators; online forums; blog/website; conferences/workshops/online courses. Financial: Pricepoint; how much do you want to earn? how often do you want to be paid? spreadsheets/attendance records; admin; accountant; insurance; superannuation; invoicing; receipts; student contacts/history records. Equipment: Instruments; maintenance; electronic/digital; computer; internet; online teaching equipment; furniture; teaching space; occ health/safety. Council: Permission home business; parking; toilet; access; noise; lighting; electricity; neighbours. Government: Tax; ABN; PAYG; RTA working with children check. Parents: Studio agreement; attendance policies; observation lessons; explicit pedagogy; reporting; quality of instrument and location for practising; expectations. Students: Books; practise policies; planning; relationship/rapport; expectations; goals; repertoire; performing, composing, musicology, aural; special needs. Scheduling events: Recitals; exams; recordings (eg YouTube channel, make a CD); nursing homes, shopping centres; fundraising practise drive. Scheduling teaching: Meals/breaks; hours open; weeks per year; holidays; public holidays; public calendar (iCal); babysitting. Here's a link to my review on Griffin's Learning Strategies for Musical Success as published in The Studio (MTA NSW). I highly recommend the MTA and encourage serious instrumental teachers to join it: www.musicnsw.com.au
How to choose performance repertoire30/5/2015  Here's my ultimate but simple list for choosing performance repertoire. It's a list I've gathered from listening to many recitals and eisteddfods and has been helpful for me when discussing repertoire with students. I'll keep adjusting this and would love to hear any of your suggestions too.
CHOOSE: - something that is engaging - something that you like - something that has artistic merit - something that is revealing - something that is rhythmically fun - something that is a little risky but still within your capability - something that is written specifically for piano/keyboard STAY AWAY FROM: - new arrangements or compositions that lack musicality - something that is too hard for your ability - something that is too safe - something that is too boring - something that you hate THINK CAREFULLY WHEN CHOOSING: - pieces that are well-known - reductions - pieces that lack a melody - pieces that are too long or too short - pieces with offensive titles or meanings CHECK: - that you understand the style of the piece and can play it in that style - that you are on top of all the technical demands of the piece - that you have all copyright permissions needed to perform the piece - that the piece suits the occasion and the audience Favourite memes27/4/2015 Time for a bit of silliness... here's some memes and images that have caught my eye.               Currently in Australia, not every student has access to quality music education in schools, which is outrageous. A lack of teacher-training, resources, management of curriculum demands, have contributed to this problem. To solve this, music specialists need to be put in every school in Australia. If you're not sure why this is important, please have a look at my earlier blogs, or read about the benefits of music education here. The newly-established 'Music Trust' has put together a campaign to petition government for a better music education in schools. Details of the campaign can be found at http://thefulldeal.com.au - the stats on this site are alarming. Please sign the petition, and push for more music in schools so that all of our children can benefit.
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