• This great “tool box” includes:
• Developmentally appropriate material
• All words, instructions, music, and chords
• An index to help you find songs for a chosen theme
• Planning suggestions for singing with children in groups

Product Description
Compiled by Elizabeth Lund Zahniser; Illustrated by Carolyn Rose Sullivan. This collection of 180 authentic songs, fingerplays, rhymes, songs, active and group games is a resource for early childhood teachers and childrens librarians. Look inside the sturdy hinged box to find laminated cards with the words, instructions, music and chords, and delightful illustrations for each song or rhyme. Use the tab cards of the Index by Categories to find just what you are looki… More >>

The Music Box: Songs, Rhymes & Games for Young Children

Adult learners come with their own baggage, often from childhood lessons. Adult piano students may have had bad experiences with music lessons as a child. These can range from scary instructors to endless exercises or abusive teacher-student relationships. Sometimes a teacher may have punished the student for not being skilled enough, while other times a teacher may have pushed a promising student too hard. This is one of the hurdles that come with learning music as an adult.

Accepting the teacher as an authority figure is another difficulty that comes with learning music as an adult. An adult has learned to be independent. An adult wants to take part in the development of curriculum and wants to be able to self-evaluate. It may be difficult for an adult to simply listen and take instruction from a music instructor. So the best avenue for learning music as an adult may be to self-tutor or to find an instructor who teaches by long distance via the internet. There are many wonderful piano courses available nowadays on the web: just type in something like “play piano” on any search engine, and you’ll find several.

Though the process of learning music as an adult is different from a child’s, it’s not necessarily harder. For a child, making music is magical, while an adult sees the work involved to get to the music making stage. It’s mainly a mental hurdle that must be overcome. Also, learning music as a child is part of the natural development process, while learning music as an adult is usually part of a larger goal. For example, an adult learns how to play an instrument to join the church worship team.

Learning music as an adult can also be difficult because of ingrained personality traits. Even the most outwardly confident adults get insecure when someone points out their flaws. So it goes with learning music. If a tutor is used, an adult can get embarrassed when the tutor corrects a mistaken note or technique. Some adults may have difficulty breathing and concentrating when they’re highly nervous. All of these can lead to a difficult learning environment.

Adults also demand comfort. This is why adults often learn an instrument in their own home. Children are less demanding about the hardness of a piano bench, for example. Adults may have back problems or other conditions that require a high comfort level.

So the basic ingredients for learning music as an adult are adaptable tutoring, reason for learning, confidence and comfort. By taking these key points and seeking the best method of learning for yourself, you can become an adult musical genius — well, maybe not a genius — maybe just a person who has more fun. Or maybe you’ll be the guy or gal at parties who knows how to play the latest song everyone is talking about. With the right teaching, grown ups can enjoy playing music wherever they go.

Trying to study musical theory by yourself is like trying to invent a new math; you simply need the help of a teacher to explain concepts. Clearly, the search is frustrating and you can easily give up on your goal to learn music theory. Don’t give up! If you recognized yourself in one of the above scenarios, (which you probably did if you’re taking to the time to read this article), there is a solution. (Yes, now is the time when you can start feeling relief about not having to give up your goal). That solution is online lessons. A search over the Internet with simple keywords in Google will quickly reveal the vast amount of information and courses available. Quite impressively, the keywords “online music lessons” give 1 140 000 search results in 0.30 seconds!

Is it really that good? Some more popular subjects found in online lessons include how to learn the guitar, guitar scales for beginners and how to play the keyboard. You will also find online instructions on a variety of other instruments, such as woodwinds and brass. Those include proper fingering, breathing techniques and articulation. However, online lessons are far from offering tutorials on instrument playing only. Theory lessons teach important theoretical concepts in depth which every good musician should know and master.

You can literally find lessons on any aspect of music theory. Newer learners can study basic concepts such as note naming, simple rhythms, ear training, scales, intervals and chords. If you are at a higher level, you can find lessons on more advanced concepts such as complex and syncopated rhythms, 12 tone and modal scales, for example, the classic pentatonic scale often found in Claude Debussy’s music. Other notions include different quality of chords, transposition and compound time signatures to name a few other advantages.

On top of the vast availability of concepts made accessible through online theory lessons, many other advantages come into account: the fact that you can study anywhere, anytime and at your own pace is not a small one. No need to take a weekly scheduled lesson, especially for adults who have an active career, or for younger ones who participate in extracurricular activities or sports teams. Not having to travel to and from lessons is especially important for the adult who already needs to commute to work everyday, or for the parent who has become a private taxi service for their children’s numerous activities.

For many youngsters, the fact of doing interactive theory online will be enough to motivate them to further their musical interest. Moreover, it teaches the young learner to be independent and participate in his own education, thus learning to be a self-taught student, a skill that will be most useful in all areas of life. On top of that, he or she will be learning and improving on computer and Internet skills.

Most sites offer high quality lessons at a very reasonable price. You can even find video lessons, and take quizzes and tests. You get the results at the click of a mouse. The access to an instructor is available almost 24 hours a day on many of the websites. If you compare price versus quality and availability of the instructor, you can easily figure out that this is worth it. In fact, having an instructor available to you anywhere and at anytime… is priceless! The importance of the theory itself Why is music theory so essential? It is crucial to your overall musicianship and of your understanding of music regardless of the instrument you play. Consider yourself playing street hockey and being the best goal scorer on your team.

So, you decide to try out the local team at the arena… only you can’t skate. See where this is going? The same is true for the musician. You can learn to play an instrument quite well, but as long as you don’t understand and appreciate the theory behind it, your music playing will never really make any sense. You might be tempted to believe otherwise, but you will also realise how wrong you were for thinking so once you “see the light” behind the theory of the music. Quite a few things can be achieved by studying and understanding music theory. For example, understanding recurrent chord progressions with which you will become familiar will help you in memorizing a song, or in understanding “where the music is going”. You will gain a better understanding of rhythms and their interpretation, as well as a thorough understanding of scales and key signatures.

This facet is indispensable for every aspect of music and can not be stressed enough! It is the foundation of western music. Understanding time signatures in order to help you determine where the strong beat should be executed is also important. Mentioned above are a few basic concepts, but the more you study, the more you will discover and be enthralled! Yes, but… Things are just not the same in a traditional setting, with the one hour lesson per week, where you need to follow everyone else’s pace (frustrating if they are slower OR faster). In either case, you’re not getting your money’s worth.

The teacher is available to you (and to all the other students) only one hour per week. Imagine, if you are an older student, finding yourself in a class with young beginners… and you have a question. Perhaps you would feel shy to ask the teacher for clarification in front of all those young minds… But with an online setting, there would be no need to feel misplaced about asking a “stupid” question. (Although, we all know such questions don’t exist, right?) One obstacle Don’t panic! The only requirement to online lessons is, well, to have access to the Internet. But I’m thinking that if you are reading this at the moment, chances are this aspect is already taken care of. So, this website you are on right now maybe the answer. Best of luck with your online studies! Oh, one more thing, your going to love learning the pentatonic scale

One such approach is the Kodaly method, which stresses the benefits of physical instruction and response to music. It resides within a fun, educational framework built on a solid grasp of basic music theory and music notation in various verbal and written forms. Trademark methods include the use of solfege hand signals, musical shorthand notation (stick notation) and rhythm solmization (verbalization).

Another is the Orff Schulwerk, which begins with a student’s innate abilities to engage in music, using basic rhythms and melodies. It encourages improvisation and discourages adult pressures and mechanical drills. To accommodate the requirement of the approach, a special group of instruments was developed from modifications of the glockenspiel xylophone, metallophone, drum, and other percussion instruments.

The Suzuki method, meanwhile, uses music education to enrich the lives and moral character of its students by creating the same environment for learning music that a person has for learning their native language. Love, high quality examples, praise, and a timetable set by the student’s developmental readiness for learning a particular technique make up this said environment.

Swiss musician and educator Emile Jaques-Dalcroze also worked out a method divided into three fundamental concepts – the use of solfege, improvisation, and eurhythmics. The last, the method’s trademark, teaches concepts of rhythm, structure and musical expression using movement. It allows the student to gain physical awareness and experience of music through training utilizing all senses, particularly kinesthetic.

Other notable methods include Gordon Music Learning Theory, which provides the music teacher a comprehensive method and resources for teaching musicianship through audiation, the developer Edwin E. Gordon’s term for hearing music in the mind with understanding. Another is Conversational Solfege, which views music as an aural art with a literature based curriculum. The scheme consists of rhythm and tonal patterns and decoding the patterns using syllables and notation.

The Carabo-Cone or Sensory-Motor Approach to Music, on the other hand, involves using props, costumes, and toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. In Manhattanville Music Curriculum Project (MMCP), meanwhile, students are given freedom to create, perform, improvise, conduct research and investigate different facets of music in a spiral curriculum.

New methods for community music education in urban setting are Applied Groovology and Path Bands. It advocates parents encouraging their children to more freely experience the natural joys of improvised music and dance though “grooving and dandling”. Path Bands, in particular, use improvised multicultural brass bands for active lifelong participation in music.

New methodologies and strategies are sure to arise. These will be welcome addition to the accepted set. Yet, no matter how many choices there exist, any noble music teacher would choose only what he thinks is best.

Music is a very powerful subject – It has been used since the Greek times for healing, communication, relaxation and for enjoyment. Even before birth we are aware of our mother’s heartbeat and during infancy are relaxed by the song of a lullaby. Every day everybody hears some form of musical pitch or rhythm and it can even be found in nature such as how birds communicate through a song-like speech.

Music is such a powerful force, it creates deep emotions in humans – it is played at weddings for happiness, in horror films and during war for fear and at home for happiness and because of this lends itself to relaxation, stress relief and health therapy – and the connection between music, body, and soul has even been shown to improve physical and mental health.

Skills such as working in teams, communication, self-esteem, creative thinking, calmer attitudes, imagination, discipline, study skills and invention are learnt and improved through the study of music and by focusing on the fact that young children are mostly highly receptive to pitch and rhythm – one of the main ways a child learns its language – that we can drive education in music to children to help them with benefits ranging success in society and in life.

“We believe the skills the arts teach -creative thinking, problem-solving, risk-taking, teamwork and communications – are precisely the tools the workforce of tomorrow will need. If we don’t encourage students to master these skills through quality arts instruction today, how can we ever expect them to succeed in their highly competitive business careers tomorrow?”

-Richard Gurin

Chief Executive Officer, Binney and Smith, maker of Crayola crayons

Music is a part of our society and a part of all communities – every human culture uses music to carry forward its ideas and ideals. A study of the arts provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. This development of compassion and empathy, as opposed to developing greed and a selfish attitude, provides bridges across different cultures that lead to a respect of other races at an early age.

Music has a great value to our economy – it creates jobs, increase’s tax base, boosts tourism and spurs growth in related businesses. Music study develops skills that are necessary in the workplace such as teamwork skills and discipline – during musical performances all members must work together to create the sounds they wish to achieve and for this regular practice is also required. Music favors working and ‘doing’ as opposed to observing, and these are the ethics employers are looking for.

Because of music’s ability to relax, calm and heal, and its optimal platform for emotions, the involvement with music helps to carve brighter attitudes – more optimism towards the future, less TV and non productive activities, low use of alcohol, tobacco and illicit drugs and desire to develop individual abilities.

Music requires study skills, communication skills, and cognitive skills and as these are learnt and developed they expand the student’s abilities in other academic areas and help them become better students. – Students with coursework/experience in music performance and music appreciation scored higher on the SAT: students in music performance scored 57 points higher on the verbal and 41 points higher on the math, and students in music appreciation scored 63 points higher on verbal and 44 points higher on the math, than did students with no arts participation. — College-Bound Seniors National Report: Profile of SAT Program Test Takers. Princeton, NJ: The College

Entrance Examination Board, 2001.

The discipline of music, particularly through participation in ensembles, helps students learn to work effectively in the school environment without resorting to violent or inappropriate behavior – According to statistics compiled by the National Data Resource Center, students who can be classified as “disruptive” (based on factors such as frequent skipping of classes, times in trouble, in-school suspensions, disciplinary reasons given, arrests, and drop-outs) total 12.14 percent of the total school population. In contrast, only 8.08 percent of students involved in music classes meet the same criteria as “disruptive.” — Based on data from the NELS:88 (National Education Longitudinal Study), second follow-up, 1992..

Many studies have been conducted on the effects of music in the brain. Scientists say that children who are exposed to music or those who play an instrument do better in school than those who don’t. Recent research suggests exposure to music may benefit a child’s reading age, IQ and the development of certain parts of the brain.

It can be shown that some measures of a child’s intelligence are increased with music instruction – a connection between music and spatial intelligence (the ability to perceive the world accurately and to form mental pictures of things) helps people to visualize and imagine solutions. This helps people to solve problems creatively and is critical to the sort of thinking necessary for solving mathematical problems and even general daily tasks.

“The musician is constantly adjusting decisions on tempo, tone, style, rhythm, phrasing, and feeling–training the brain to become incredibly good at organizing and conducting numerous activities at once. Dedicated practice of this orchestration can have a great payoff for lifelong attention skills, intelligence, and an ability for self-knowledge and expression.” — Ratey John J., MD. A User’s Guide to the Brain. New York: Pantheon Books, 2001.

Along with mental development music study can support the brains physical development – it has been indicated that musical training physically develops the parts of the brain known to be involved with processing language and reasoning, and can actually wire the brain’s circuits in specific ways. Memory can be improved through the linking of familiar songs with objects just as linking images can – past memories and emotions can be triggered by audio.

“Why arts in education? Why education at all? The purpose of education is not simply to inform but to enrich and enlighten, to provide insights into life as it has been led and as it may be led. No element of the curriculum is better suited to that task than arts education.”

-David Kearns

Now retired Chairman and Chief Executive Officer of Xerox Corporation

Ideally we want our children to experience “success” throughout life itself. The benefits may be psychological, spiritual and physical and with the challenge of making life meaningful and fulfilled and to reach a higher state of development by participating in music we develop self expression which in turn leads to self esteem – ultimately helping us to succeed at these challenges.

“Casals says music fills him with the wonder of life and the ‘incredible marvel’ of being a human. Ives says it expands his mind and challenges him to be a true individual. Bernstein says it is enriching and ennobling. To me, that sounds like a good cause for making music an integral part of every child’s education. Studying music and the arts elevates children’s education, expands students’ horizons, and teaches them to appreciate the wonder of life.”
— U.S. Secretary of Education Richard W. Riley, July 1999.

Conclusion

Music is a powerful tool and as seen can dramatically improve and enrich everybody. It makes sense to push music education and to allow young generations to gain these wonderful benefits – higher intelligence through increased creative thinking, problem solving and physically stronger brains, a higher perception of life including better attitudes, strong desires to achieve and fulfil and higher self esteem, better developed discipline, study skills, concentration, communication and team skills which transfer from education through to career and a better understanding of communities and society

Parents who enroll their children in music schools can help in the total development of their child. Even if a child chooses not to enter into a musical career, music lessons can provide a positive impact on the child’s development.

In taking up music lessons, there are other abilities that can be learned aside from learning music. One of the traits that can be developed is discipline. In learning music, it takes many hours of practice to become good. Others can take months and years to master it. One needs to develop self-discipline in order to succeed. The earlier a child begins to learn music, the earlier he or she starts to develop discipline within his or herself.

Another very important attitude that can be learned in studying music is self confidence. Self confidence if very essential to us if we want to succeed. In learning music, there will be recitals and stage presentations in front of a live audience. This will help develop one’s confidence when facing the crowd.

Aside from these internal traits, a child can also develop his or her ability to entertain people. With their confidence, children who learn music at an early age will have the ability to entertain friends, family or even people who are not acquainted to them.

These are only some of the positive abilities a child can acquire while studying music. There is a lot more to than learning to play an instrument or learning how to sing. Internal traits will be developed, especially if a child starts a very young age.

Every week, children would have singing lessons, be introduced to instruments, and learned about the great composers. Art instruction included using mediums such as watercolor, charcoal, and tempura paints, as well as art history lessons and exposure to artists from across the centuries. Children were provided with all the materials they would need, and musical instruments were rented to families who did not have their own, for a nominal fee.

At some point in time around the early 1980’s, music and art instruction in the public schools came to an end. Budget cuts were blamed and schools were left scrambling to find the money to continue their art and music programs in the schools. Art and music teachers were not rehired and classroom teachers attempted to take over. Much of what they taught was based on what they had learned from the professional art and music teachers in years past. Schools in more affluent area were able to carry on with their programs, in large part because of the donations of time and supplies made by their parents who could financially sustain them.

During the 1990’s they was a resurgence of music and art programs due to the efforts of the large artistic and musical communities who saw the need for this type of instruction in the public schools. Movies like Mr. Holland’s Opus opened our eyes to the need for these programs by our young people.

Do music and art programs in the schools really help our children learn academic subjects more easily? Music is associated with mathematics, patterns, and memory function. Art stimulates a part of the brain that has been linked to writing proficiency. Music and art programs do add to our children’s academic progress and should be a regular part of their school curriculum.

Teaching music seems to be a very rewarding experience; thus, teaching music as well as how to play piano or any musical instruments can be such a challenging task especially if you deal with younger batches of students – toddlers and kids. It is expected that these children might lose focus and determination in whatever they do; they can easily be destructed by many environmental or physiological factors. However, as music educators, we have to get that edge in motivating and encouraging them to stay focused and possess enthusiasm that they need in learning music.

As early as a year or two, music teachers like us, together with the students’ parents, guardians, caregivers and nannies, can extend and lend a helping hand to help the children learn, appreciate and love music in their own little ways. Even in a very early age, children can process, accomplish and generate these three activities: the restoration of the natural human ability – speaking the language of music; the restoration of the natural human disposition to participate in music; and, the evolution of human full capacity to use music for personal expression, development and transformation.

With all these gifts, talents and innate skills that our young can acquire, they can simultaneously learn to integrate and express the music of their culture and tradition, highlighting and empowering the distance between the powers of development and the great wonders of music. Stimulated by their music teachers, parents and guardians, these children will be able to develop their birthright: the basic music competence. Motivated and guided by skilled, dedicated and passionate early childhood music educators, experts and enthusiasts, the musically active child can be at the heart of this renaissance in music education.

Music is indeed a gift and an ear for music is a blessing, a talent that has to be nurtured and shared. Many music and piano teachers nowadays do regard music teaching both as their passion and profession. As they devote much of their time on it and in enhancing their skills on teaching music to children aged two to seven, they need different approaches as well as innovative and interactive tips in piano teaching to make these things both achievable and effective.

Furthermore, as we make effort in meeting the needs of our younger batches of students in teaching piano and music, we also have to always remember that they are still children that have to enjoy their childhood – engaging in many recreational activities that can bring out the best and the kiddiest in them. So, let us enjoy each teaching and learning moment with our students and take each experience to the next level. Happy teaching!

The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)

Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)

In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included – but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,

“The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done.” (Ibid)

In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)

Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.

Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)

While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.

There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.

Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.

With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.

Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)

SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)

For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.

Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home – let alone internet access?

Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?

David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:

“We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools.” (Thomas, 2003)

A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.

There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.

Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.