To basically adhere to the problem, they are determined to research the latest music teachers’ resources. Since both teaching and learning are two dynamic processes, music teachers and their students should meet half way – adjusting to the kind of individuals they are.

And because they are up to music education, these music teachers need to update their lists and records with the most modern trends and techniques, which are believed to be very effective and influential with the kind of students they have right now. From time to time, there could have been new music teachers’ resources that could improve their teaching strategies as well as their way of relating to their dear students.

Today, music educators incorporate theories and application to give a well-rounded musical experience and to teach music in various perspectives intended for international understanding. To meet many demands and expectations of their students, music teachers keep on upgrading their available music teachers’ resources by doing some researches over the Internet. In just a matter of few clicks, they would be aware of what is really the latest in the music academe as well as the newest style and approach in teaching that they can utilize in their everyday instruction.

The perceived effort to enhance music teachers’ resources also results in a greater number of students, who are now more motivated and determined to learn and love music. When their music teachers use some personal touches as part of their resources – sharing their own insights, thoughts and experiences on a particular topic, the learners become more eager to attend to their music classes and listen to their classroom discussions. This happens simply because they feel that they have something to relate to and such experience could also happen to them in time.

Indeed, teaching and learning music can be both fun and enjoyable. Just like in real life and in our daily activities, when we integrate music into anything that we do, it amazingly turns out to be more special and a lot of fun. After all, music gives most of us such inspiration and motivation to look forward to something better and brighter. Love music and enjoy tomorrow.

As teaching has become both the passion and the profession of many music teachers and all the other educators around the globe, music education and music enthusiasts along with computer experts, consistently come up with innovations and new technologies that can take teaching to the next level. As the use of the Internet and the integration of technology to music education curriculum have been widely adopted and used all over the world, the levels of students’ curiosity, interest and motivation have been abruptly increased and achieved.

Scheduling requires focus, attention and awareness. One must be alert, organized and systematic enough not to miss any scheduled activity, event or appointment. Whether it is personal, professional or social commitment, it has to be given priority, attendance and participation. Through resolve this conflict on missing appointments, music lesson scheduling software have been widely available over the Internet. Computer program experts and enthusiasts have made time and workload management, scheduling, planning and preparation a lot easier, more convenient and fun.

Many music lesson scheduling software have been considered to be one of the must-haves of any music teachers, private studio owners and manager out there. As a music teacher, your profession may demand a lot of time, effort and resources that music teaching seems to be a difficult and challenging task.

However, if you have the passion for teaching, you’ll probably take all the necessary actions in order to make you work at your best. You will either visit music teachers’ websites to get relevant information and details related to music teaching or you invest into various helpful and reliable music teacher software.

If you teach music in a private studio, you may be aware that scheduling, lesson planning and preparation can all be complex and tough. Struggling with your daily schedule, you have to make sure that you are able to schedule all your students – giving them a specific date and time of music classes, and you have to be assured that each session doesn’t overlap with the others. Conflict of schedules shall never happen.

On the other hand, cancellation of classes as well as the student’s request for re-scheduling is inevitable; thus, you have to be sure that each is being met accordingly. This innovation, the music lesson scheduling software has been introduced in the academe along with all the other private music studios to help music teachers and classroom and school managers organize and systematize music lesson, class schedules and the likes.

As this web-based tool aims to empower music teachers as well as their students to schedule private lessons online and stay connected despite of their busy schedules. Many music lesson scheduling software automatically keeps the schedule updated as it notifies you new appointments, cancellations or re-scheduling requests.

So, if you wish to free yourself from worries and hassles brought by time management, scheduling, planning and preparation, learn more about the latest and the most effective music lesson scheduling software available online. Check them out only on the most reliable music teachers’ website today. Happy teaching!

During primary and secondary education, learning music is not exactly given much attention. It is but one of those “filler” subjects. But for a few more artistically-inclined people, this serves as a foundation for their future interest, or even way of living. And when one does decide to enter schools of music, one would know for sure that it is a passion, a dedication.

It is during these formative years that music teachers play their pivotal roles as future musicians’ mentors, even inspirations. Teaching is indeed a noble profession, more so a vocation. Yes, it is far from teaching math, or science. Said subjects are purely academic subjects that entail a teacher’s thorough knowledge. Teaching music, on the other hand, necessitates both knowledge and aptitude…and, probably even more importantly, passion.

Music teaching possibly started as a way of passing on a community’s tradition. India has in their ancient scriptures references to Indian classical music. The “Great Book of Music” or Kitab al-Musiqi al-Kabir was written by the Arab scholar al-Farabi in the 9th century.

In the Western world, music teaching may have started from the church, with cleric/monks teaching their hymns to those next in line, or to the religious. In fact, in the U.S.A., the first singing school was created by Reverend Thomas Symmes in 1717 in Boston, Massachusetts for “the purposes of improving singing and reading in the church”. With the continued popularity of music and its commercialization, organized instruction evolved and schools of music sprung forth around the world.

Albeit the acclaim of many musicians who graduated from these schools, music education does not seem to receive the recognition it deserves. Thus, an organization, the International Society for Music Education, was formed in 1953 in a conference convened by UNESCO. It aims “to stimulate music education as an integral part of general education”. It is now considered to be “a worldwide service platform for music educators” for their works to be recognized. It now has affiliations with national music education organizations of different countries to promote music and teaching to as many people as possible, if not to all.

Music instruction has evolved through time, in tune with the evolution of music. It also has changed, along with the changes of the times, of the people. Somehow, music teachers, of all levels, are now given the commendation they are rightfully due. More importantly, music teaching is slowly but surely winning the respect, it has earned. For what is, the worth of music if it is not taught, hence, shared.

Educators and music teaching experts believe that innovative music teachers resources are indeed effective and beneficial in motivating their students. Most of them even reiterated that these educational resources that include innovative and creative strategies are most appealing and interesting to learners. Their levels of motivation and enthusiasm will surely increase as they get more excited to attend each music class.

Innovative music teachers resources enable the students enjoy each session while learning and acquiring new ideas and skills in music. When technology, internet, use of blogs and online research and communication, as well as innovative musical tools and instruments are incorporated into the learning process, students always look forward to attend and eventually excel in class. Integration of technology into music education has been proven effective and operative over the years – making the teachers and students enjoy each experience.

There have been many different innovative products and services on teaching music made readily available worldwide. Therefore, a music teacher just needs to spot for the most suitable and reliable aid or tool in making your teaching methods more loved and appreciated by students.

Below are some innovative and creative ideas that may be of great help to you, dedicated and inspired music teachers:

• Integrating technology – use of electronic mails, blogs, online research and the likes are strongly encouraged. Thus, maximum supervision and guidance are also advised as these innovative ways may risk the students and somehow expose them in such liberated society.
• Cooperative learning – students working as groups or teams heading towards one goal can bring them closer to building self-confidence and establishing camaraderie. Yet, remember that when integrating cooperative or collaborative learning strategies into a course, careful planning and preparation are essential.
• Hands-on Learning Activities – knowing your students by name gives them a kind of feeling that makes them more special – you taking some effort to memorize and know their names. When you give an activity, try to get closer to each student. Tapping their back and stroking their hair embedded with praises and appreciations as well as kind and motivating words indeed play a vital role. Personalizing your teaching approaches will surely make a great impact on the learning process itself.

The abovementioned strategies will definitely assure such quality of music education to your students as they also give in much of their interest, time and hard work into it – trying to love music more. Music teachers resources like these accredit the future of the learners, which include the adaptability to meet students’ changing learning styles, and create opportunities to develop life-long learning strategies.

So, to all music teachers out there who have devoted and committed their precious time, countless effort and hard works, congratulations; not all can possibly do that. You all deserve such recognition and acknowledgment for putting in your heart into teaching – molding young minds and touching many lives. Cheers!

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.

Whether you teach music in the classroom or in a private music studio, it is still better for you to always change and modify your teaching techniques so as not to bore your students – breaking the monotony and making them more interested and motivated. Losing their interest and enthusiasm to learn music may probably the last thing that music educators and tutors can think about.

Traditional teaching refers to a teacher-centered classroom environment where the music instructors do all the tasks: discussions, lectures, thinking, asking, deciding and many more. The power and the responsibility all lie in the shoulders of the educators themselves. Thus, in today’s teaching and learning environment, the teacher is encouraged to merely facilitate classroom activities and learning sessions as he or she motivates the students to do his/her part and act roles in the learning process.

Music teachers around the globe are determined to improve their ways of getting the attention and interest of their students – making them highly-motivated learners. As they go beyond the boundaries of conventional methods of music teaching, they get through various means of acquiring the latest necessary trends, skills and experiences on music education updates. One great way to achieve this professional development and obtain career success is through the power of the Internet.

With just a few clicks, one can browse, search, download and install music teacher software from reliable music teachers websites without any hassles at all and overspending. Appreciating the convenience of Internet search and easy access, more and more teachers are engaging into this kind of newest technology, getting the most useful and effective music teachers resources for the betterment of their teaching strategies. Such techniques are being acquired globally and applied in many classrooms and music studios out there.

However, the effectiveness of these innovative music teachers resources depend on the appropriateness, availability of resources and the receptiveness of the learners to changes, new trends and interactive activities. Music teachers, who intend to acquire a technique from innovative resources, should always take into consideration their students’ behaviors, characteristics and perceptions. As you take your teaching strategy to the next level, you should also remember several underlying factors that can be affected, altered and influenced by the newly adopted strategy in teaching music to students.

Music teachers resources, which are created to be innovative, interactive and interesting, are also anticipated to bring the students closer to motivation, acquisition and learning respectively – leaving a long-lasting impact. Most of all, teaching with quality and style can be good for your dear students but teaching with your heart into it makes it more rewarding, fulfilling and well-appreciated.

So what are you waiting for? Step out of the box and inspire yourself and others to take a stand and make a difference. Keeping yourself and your fellow teachers abreast with the latest trends and techniques in music teaching can surely jumpstart this endeavor. Let us get in touch with as many music teachers as we can and begin spreading the good news. Happy teaching!

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.