STUDY in MOBILE MUSIC TECHNOLOGY: HIGH SCHOOL STUDENTS COMPOSING with GARAGEBAND for Ipad
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STUDY IN MOBILE MUSIC TECHNOLOGY: HIGH SCHOOL STUDENTS COMPOSING WITH GARAGEBAND FOR iPAD By STEVEN E. SABET A dissertation proposal submitted to the Graduate Committee of the Mason Gross School of the Arts, Rutgers, The State University of New Jersey, in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS Graduate Program in Music Education Written under the direction of Dr. Stephanie Cronenberg And approved by _____________________________________________ Dr. Stephanie Cronenberg, Assistant Professor of Music _____________________________________________ Dr. William Berz, Professor of Music _____________________________________________ Dr. Steven Kemper, Assistant Professor of Music _____________________________________________ Dr. Catherine A. Lugg, Professor of Education _____________________________________________ Dr. Brandon Williams, Assistant Professor of Music New Brunswick, New Jersey December 2018 i Abstract Given that a new era of music education technology has emerged in the 21st century and that technology presents increased opportunities for creativity, I investigated one application of integrating technology in the classroom using GarageBand for iPad. Music technology was shown to be an effective tool for reaching students outside of traditional music ensemble courses. Music technology can also fuse various music roles together, such as performer, composer, engineer, and producer. The purpose of this case study was to examine the experiences of high school students using GarageBand for iPad in a music technology class to compose original music. Students then shared and presented their works in class during peer-review critique sessions for growth and reflection. This study was carried out in my own classroom, and I served as both teacher and researcher. Three themes emerged from my research: Music and Production Features, Thinking Creatively, and Instructional Roadblocks. Recommendations for music teachers and for future research using music technology are also included in this dissertation. ii Acknowledgements This work would not have been conceivable without the generous help of several good friends, colleagues, and family members, all of whom have made my dissertation possible. Thank you to my colleagues at the Thomas Jefferson Arts Academy and the Elizabeth Public Schools for their assistance, especially my principal, Michael Ojeda, for approving my study at the school and supporting my doctoral efforts. Thank you to my friend and colleague Diego Gallardo for distributing and collecting my students’ permission forms. I could not have done this without you both. Thank you to all of my students, past and present, for inspiring me in the world of education. I have learned more from you than you could have possibly imagined. Students are truly the best teachers. Thank you to my committee members, especially Dr. Stephanie Cronenberg. Dr. Cronenberg has been there every step of the way and has guided me throughout this process. Thank you to Dr. Berz, Dr. Lugg, Dr. Kemper, and Dr. Williams for your suggestions and help in completing my dissertation. Thank you to Dr. Jill Reese of the State University of New York (SUNY) Fredonia for allowing me use and adapt her research questions for my study. Thank you to my wonderful wife Tatiana, the most supportive and loving person I have ever known; I could not have done this without you. To my son Eli: You are my biggest inspiration. Thank you to my supportive and loving parents, who have encouraged me in my musical and educational pursuits. I am most grateful to have such a wonderful mother and father. iii Table of Contents Abstract……………………………………………………………………………………i Acknowledgements……………………………………………………………………….ii Table of Contents…………………………………………………………………………iii Chapter 1: Introduction……………………………………………………………………1 Computer Technology Is Everywhere…………………………………………….2 Society’s Demand for Technology in Education………………………………….4 Defining Creativity………………………………………………………………..5 Musical Creativity…………………………………………………………………7 History of Music Educational Technology………………………………………10 Developmental Period……………………………………………………11 Mainframe Period………………………………………………………..14 Microcomputer Period…………………………………………………...18 Post-Microcomputer Period……………………………………………...19 Ubiquitous Computing Period…………………………………………...23 My Instructional Philosophy……………………………………………………..30 Statement of the Problem………………………………………………………...32 Research Purpose and Question………………………………………………….34 Chapter 2: Review of Literature…………………………………………………………35 Use of Technology in Schools…………………………………………………...36 Technology Integration in Music Education…………………………….36 Music Technology = Student Access to Music Learning………………..38 The Need for Preservice and Professional Development Training………41 iv Music Technology Models of Instruction………………………………..45 Music Composition in Schools………………………………………………….47 Composition Roadblocks………………………………………………...50 Studies of Teachers Effectively Integrating Composition into Curriculum.................................................................................................52 Using Technology to Teach Music Composition………………………………..54 Notation………………………………………………………………….54 Sequencing……………………………………………………………….57 Sequencing with a DAW………………………………………………...63 Digital Audio…………………………………………………………….68 Internet……………………………………………………………….......71 Music Technology = Meta Musicians………………………………………..........76 Summary…………………………………………………………………………...78 Chapter 3: Methodology…………………………………………………………………80 The Case: The Unit of Study…………………………………………………….81 Phase I—Acquisition Period……………………………………………..83 Phase II—Music Composition…………………………………………...84 Phase III—Music Composition Presentations and Peer Review………...85 Research Site and Participants…………………………………………………...86 School Community………………………………………………………86 Classroom Setting………………………………………………………..88 Student Participants……………………………………………………...89 Data Collection…………………………………………………………..90 v Trustworthiness…………………………………………………………………..93 Confidentiality…………………………………………………………………...94 Analysis…………………………………………………………………………..95 Chapter 4: Results………………………………………………………………………..98 Unit Overview……………………………………………………………………99 Theme: Music and Production Features………………………………………..107 Technical Features……………………………………………………...108 Production………………………………………………………………111 Performing……………………………………………………………...112 Sound Design……………………………………………………….......113 Mixing…………………………………………………………………..114 Theme: Musical Elements………………………………………………………116 Style and Instrumentation………………………………………………117 Texture………………………………………………………………….119 Form…………………………………………………………………….120 Melody………………………………………………………………….123 Chords and Harmony…………………………………………………...125 Technology Facilitated the Creative Process…………………………...126 User-Friendly “Like App”……………………………………………...129 Theme: Thinking Creatively……………………………………………………133 Life Experiences………………………………………………………..133 Flexibility and Exploration……………………………………………..136 Reviewing and Editing…………………………………………………141 vi Composer Happy……………………………………………………….145 Empowerment…………………………………………………………..147 Theme: Instructional Roadblocks………………………………………………152 “Dislike App”…………………………………………………………...152 Challenging Learning Experiences……………………………………..156 Presenting Challenges…………………………………………………..159 Conclusion………………………………………………………………….......162 Chapter 5: Discussion…………………………………………………………………..164 The Experience of Participants……………………………..…………………..165 Synthesizing Musical Knowledge Through Technology………………166 Student-Directed Creative Process……………………………………..173 Differentiated Music Learning………………………………………….176 Teacher Flexibility……………………………………………………...179 Limitations……………………………………………………………………...184 Uniqueness of Study……………………………………………………………186 Recommendations for Music Teachers…………………………………………188 Recommendations for Future Research………………………………………...191 Conclusion………………………………………………………………….......193 References………………………………………………………………………………195 Appendix A: Weekly Essential Questions ……………………………………………..209 Appendix B: Lesson Plans for Case Study……………………………………………..210 Appendix C: GarageBand Check-in……………………………………………............222 Appendix D: A Process for the Creative Product ……………………………………...223 vii Appendix E: National Core Arts Standards - Music Technology Creating Standard…..224 Appendix F: Reflective Journal - Teacher Log…………………………………………225 Appendix G: Peer-Review Critiques for Compositions………………………………...226 Appendix H: GarageBand Self-Assessment……………………………………………227 Appendix I: Initial Student Intake Questionnaire………………………………………228 Appendix J: Open Response Written Questions………………………………………..230 Appendix K: Informed Consent………………………………………………………...232 Appendix L: Assent Form ………………………………………………………...........234 Appendix M: Site Letter of Cooperation……………………………………………….235 Appendix N: Rutgers IRB Approval Letter……..……………………………………...237 Appendix O: Audio-Recording of Class Discussions Consent Form ………………….238 Appendix P: Script for Oral Consent……..…………………………………….............239 Appendix Q: Themes and Codes Definitions ………………………………………….240 1 Chapter 1: Introduction to the Study In 1985, I saw the blockbuster classic film Back to the Future and was amazed. I was eight years old when I saw Marty McFly plug his electric guitar into Doc Brown’s CRM-114 amplifier and strike that famous power chord that was exhilarating to so many viewers. A few years later, I began to play the electric guitar, regularly studying and taking lessons outside the school day. I remember telling my fifth-grade music teacher that I was learning to play the electric guitar. Instead of commending me, she discouragingly