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By Stephen T. Schroth, Jason A. Helfer, and Richard Dammers by Stephen T. Schroth, Jason A. Helfer, and Richard Dammers 54 spring 2009 • vol 32, no 2 IFTED CHILDREN benefit, as do all students, from music instruction (Helfer & Schroth, 2008a; Kay & Subotnik, 1994; Smutny & von Fremd, 2004). Many teachers and parents, although not musical themselves, are comfortable teaching gifted students about music apprecia- tion and perhaps even beginning instruction with regard to various instruments (Baum, Owen, & Oreck, 1996; Helfer & Schroth, 2008a). More problematic, however, is how to teach gifted students about musical composition when the teacher or parent does not possess composition skills. Manipulating sounds provides an excellent initial entry into the world of music for children who demonstrate precocity in musical performance as well as gifted children showing an affinity to particular musical genres. Young composers’ work can be supported in many ways, including through the use of com- puter hardware and software. Using musical technology allows students to revise and revisit their work over time and in for- mats that are both visual and aural. Technology also allows a far greater number of entry points to students, teachers, and parents, including those with little musical expertise. Teachers and parents who lack composition skills, however, typically have many questions about how to proceed. How can I help my child when I am not comfortable with musical concepts and terminology? Will composition instruction help or hinder my child’s development as a performer? Can children who are not especially good at performing compose? When should composition activities be introduced to gifted children? gifted child today 55 Using Technology to Assist Musical Development Questions of this nature are impor- hardware and software requirements in a gifted classroom or with individ- tant. For gifted children’s musical abili- for those packages, so that parents and ual students therefore will supplement ties to emerge and for musical talents teachers may better assess equipment and support ongoing musical activi- to develop fully, students’ musical needed for compositional activities. ties in the traditional music classroom potentiality must be recognized, les- (Swanwick, 1988, 1994). The instruc- sons and other services provided, and Composition With tional flexibility composition allows learning assessed (Johnsen, 2003; Gifted Children teachers to address a wide range of Schroth, 2007). Recent software learning objectives with a diverse developments have greatly increased group of students. Approaching musical study with and enhanced the compositional Teachers using composition, for gifted children presents an interest- opportunities available to gifted stu- example, may ask students to invent ing challenge. Instruments used to dents. Even children who are gifted notation as a means to show what identify students as gifted may or performers may have difficulty notat- they are thinking in terms of musi- may not identify whether a student ing those sounds and forms that are cal concepts (Bamberger, 1991/1995; is musically gifted (see Baum et al., pleasing to them. Optimally, instruc- Upitis, 1992). This invented notation 1996; McKay, 1983; Oreck, Owen, tion of all kinds should be matched can occur with or without computers, & Baum, 2003). Even when students to a student’s readiness level, interests, with or without special tools, or with or are viewed as being musically gifted, and learning profile (see Smutny & without specific software. Additionally, they may not be gifted in all three of von Fremd, 2004; Tomlinson, 1999, music instruction within the schools the primary engagements of music: 2001). Readiness level refers to a stu- or opportunities at home may include creating/composing, listening, and per- dent’s knowledge, understanding, and access to software programs that will forming. As a result, in any given group skill related to a specific sequence of provide an easel upon which students of gifted students, a wide range of learning, factors that are the result of can notate their work, where the child musical skills and abilities will almost cognitive proficiency and prior expe- or group has the opportunity to hear certainly be present. Teachers and par- riences (Tomlinson, 1999). Interests the composition in real time, and, when ents who work with groups of gifted include those topics or pursuits that necessary, revise the work. Depending students, especially those teachers and evoke curiosity and passion in a learner on the students’ readiness levels, inter- parents who lack an extensive musi- (Tomlinson, 2001). Learning profile ests, and learning profiles, teachers and cal background themselves, often feel references factors influencing how parents can design and deliver instruc- underprepared by the challenge pre- students learn best, including learning tion that provides active engagement sented. Because most public school styles, intelligence preferences, culture, with musical materials (Schafer, 1967). music instruction, as well as private and gender (Tomlinson, 1999, 2001). Given the wide variety of technical sup- individual instruction, focuses upon Current software packages fea- port available, students may begin to developing a child’s technical facil- ture a flexibility and ease of use that compose based upon their musical intu- ity and musicality, considering com- allows students, parents, and teachers itions first, often with very rewarding position as a tool that supports that numerous opportunities to differen- results. After this beginning, teachers child’s overall musical development is tiate the child’s musical experiences. and parents will find that planning out important (Music Educators National Many composition software options compositional experiences will contrib- exist that allow teachers and parents to Conference [MENC], 1994). ute to increased student understanding differentiate instruction in these ways. Composition provides an effec- and engagement. This article provides teachers and par- tive way to address the range of abili- ents support in three areas. First, the ties and experiences found in most importance of composition as a means classrooms. Composition instruction Planning Musical to strengthen gifted children’s involve- allows students active engagement with Composition Instruction ment with and opportunities in music music in small groups or individually will be examined. Second, brief cases according to their skills and interests. All good instruction focuses on will be provided that give answers to Although performing and listening the concepts and principles impor- the questions asked at the outset of often are taught in schools, compos- tant to the particular subject as a dis- this article. Finally, specific software ing frequently is ignored (Elliot, 1995; cipline (Bruner, Goodnow, & Austin, packages will be examined, including Reimer, 2003). Compositional study 1977; Callahan, 2001; Renzulli & 56 spring 2009 • vol 32, no 2 Using Technology to Assist Musical Development Reis, 1997; Sternberg & Grigorenko, approach to beginning composition, different ways thus affords novice 2000; Tomlinson, 2003; Tomlinson & which may well include a specific composers the opportunity to con- Callahan, 1992). This axiom extends to software environment. Teachers and struct compositions that may serve a quality musical composition instruction parents will at some point want to variety of purposes. Even children who (Smutny & von Fremd, 2004; Upitis, memorialize the child’s compositions. sight read standard notation can ben- 1992). The design of a composition To do so the child generally will use efit from having the option of graphic project for a student should start with either standard musical notation or notation as it allows a more personal- his or her musical background and abili- graphic notation (Cage & Knowles, ized means of recording their composi- ties. Although there are assessment tools 1969; Rudolph & Leonard, 2002; tions. Michael, a 12-year-old who had focused primarily on aural discernment Stone, 1980; Upitis, 1992). Standard experimented with standard notation, and performance skills that may help musical notation uses a five-line staff, found graphic notation more expres- assess some of a student’s musical abili- with pitch shown by the placement sive when creating jazz compositions. ties, an informal assessment of students’ of notes on the staff and duration Graphic composition also had the musical experience and ability generally indicated by use of various note val- advantage of allowing Michael to share is adequate and perhaps more revealing. ues (Bamberger, 1991/1995; Cage & his composition with friends who did Teachers or parents can begin working Knowles, 1969; Rudolph & Leonard, not read standard notation and allow- with their child to structure a guided 2002; Stone, 1980). Standard musical ing that composition to be performed investigation by considering questions notation is, of course, what most of by a potentially larger group. such as: us envision when we think of written Once a profile is constructed, teach- • Does the student play an instru- music. Graphic notation focuses on ers and parents must assist the child ment or sing? using nontraditional symbols and text in understanding the concepts that • If so, for how long, how well, and to indicate how a piece of music should will be manipulated in order to cre- what has been the nature of his or be performed (Bamberger, 1991/1995; ate a composition. Specific musical her study?
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