Sigma Alpha Iota

P A N P I P E S Winter 2021 15 15 MUSIC EDUCATION and present the final result. For some classes, such as general music and jazz, improvisation is a core part of the curriculum. But most music ensemble classes, focused on rehearsal and its end product, le little time for Creating. During distance learning, Creating played a large role in our instruction. Improvisation was something everyone could do at home. Compositions could be hand-drawn on paper from home, whether those were lines, shapes, symbols, or standard notation. Teachers who had students with computers at home leveraged the new widespread one-on-one access to technology. eir students explored composition through visual notation (from kid- friendly Chrome Music Lab to full digital audio workstations [DAWs] like Audacity, Band Lab, or Soundtrap) and/or standard music notation- based programs like Noteflight. No matter the method or platform, kids were Creating more music than ever before. Performing SELECTING e first standard of the Performing process is selecting music that is appropriate for the individual or ensemble. Teachers found an exciting way to create independent or collaborative units of Project-Based Learning (PBL). Students could plan a concert program by determining which pieces would be right for a performance by their ensemble. Or they could select and study solo repertoire, possibly covering the entire cycle of Performing all the way up to a final recorded performance. REHEARSING AND MUSIC-MAKING In the middle of the Performing process are several standards related to analyzing, interpreting, and refining…basically, the bread and butter of most music classes! But what were educators to do without the ability to be with their students to lead them in singing or playing instruments? Video conferencing platforms have too much delay to allow making music simultaneously (except for some aleatoric music!). One method of rehearsing together is to have all students mute, and then lead them through music-making, while they play or sing in their own home. at is: the teacher conducts, plays an instrument, sings, or accompanies, and the students play or sing along. But they can't hear each other, and you can't hear them (except for the occasional spot-check when you ask a student to perform un-muted). is can superficially resemble a regular in-person rehearsal, but as you can imagine, it isn't the same. Another option, for those with the finances to afford it, was to pay for an online platform to help with individual assessment of playing and singing skills, such as SmartMusic, SoundCheck, or Sight-Reading Factory. Students play or sing along with the notation, and the program records and assesses their accuracy. Even without the auto-grading, these systems helped teachers with large ensemble rosters provide individual feedback. Some students didn't have musical instruments at home, and so music educators designed Performing lessons using body percussion, bucket drumming, and found instruments (that's when you use something as a musical instrument that isn't designed to be a musical instrument, like pencils, a cooking pot, or a cardboard box). ese lessons tended to have elements of creativity built in, such as students improvising their own ostinatos. Educators also turned to music theory, since reading notation is embedded in the Performing standards. Teachers developed lessons on rhythmic notation, which students could clap, speak, or play on whatever instruments they had available. e internet offers plenty of music theory games, lessons, and rhythmic segments to practice. Teaching pitch could be more complicated, especially if students did not have a melodic instrument at home, but virtual pianos helped students visualize highness and lowness of sound. PERFORMING If student musicians couldn't be in the same room with each other, how could they possibly have the experience of presenting to an audience? No matter what, accomplishing this standard would look different than an auditorium full of families and friends. Some classes shared solo performances with each

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