Kathleen Gibson

Exploring Music Technology

Middle School; Grades 6-8

Kathleen Gibson
 Kathleen Gibson

Exploring Music Technology

Course Description: In this course students will learn about different kinds of music technology based
around composition. Students will have multiple projects throughout the semester that
will teach them how to use the different technologies, including Sibelius, and Pro-Tools.
Projects will include transcribing a section of a song in Sibelius then exporting it to
Pro-Tools and creating a loop out of it, arranging a short song from a given list (again
with Sibelius and Pro-Tools), writing an audio track to a 30-second video clip using
Sibelius, Pro-Tools, and somehow including Garageband, and then composing a
1-minute 30-second (or longer) piece of their choice. By using these technologies
students will learn how to write for multiple instruments as well as working with MIDI
devices.
Along with learning about these programs, students will learn about the music industry
and the professions in that area. Students will work in pairs and explore different music
labels, picking one and creating a visual presentation of that label. Students will be
researching information like who owns the company, who is on that label, what a
manager does, what a sound technician does, etc. By researching this information
students will gain knowledge in the professional music industry world.

Rationale/Need: Secondary general music has been based around eurocentric and classical ideas for
centuries. This is shown through performance based music education, such as band,
choir, and orchestra. While these ensembles are great they are not reaching students
who are interested in other kinds of music, for example music technology. In his book,
Remixing the Classroom, Randall Allsup says “Technology has opened up spaces that
are potentially more cooperative and more socially just than the Master-apprentice
model” (Allsup, 2016, p. 69). This statement is showing music educators that music is
changing with the times. There is no longer this Master-apprentice model that Allsup
mentions, which is when students want to study their instrument under one person to
become a master on it. Instead, students are wanting to create music like they are
hearing on the radio--Rap, Hip-Hop, Pop, R&B, the list goes on. Students being able to
learn music through multiple facets, including technology, is important in a students
education to allow them to gain the skills needed to interact with these technologies. For
this class, specifically, Bauer’s list of “creating, performing, listening to, and
understanding music,” (Bauer, 2016, p. 43) is exactly what each project is designed to
do. Each project allows students to create something unique to them and their own
musical preferences, then creating something that they are proud of and want to
present, hopefully creating a deep enough impact that students will want to continue to
learn about music technology. In a research article posted by the Journal of Research in
Music Education it was said that “It is also interesting to see how many principals would
like to offer courses such as piano, strings, guitar, and music technology.” With
principals wanting to implement these courses into their schools it shows how important
it is to have more than band, choir, and orchestra as options for students. This music
technology class gives students the opportunity to learn music in a new way along with
the professions that tie into the music technology world.

Expected Impact on In this class students will learn about music technology and how to use two programs:
Students: Sibelius and ProTools. Sibelius is a notation software that is very user-friendly, including
document sharing, which allows others to edit or make comments on the same score.
ProTools is a music production software that allows users to edit and mix sounds as
they please. By learning these two softwares, students will have a better idea of how
music is made and produced. Students will also learn about some different aspects of

Anchor Standards
addressed:
Anchor standards are
underlined, California
state standards are in bold
(added for clarity when it
comes to state standards,
VA standards used below.)
Expected Community
Impact:
Course Outline:
Kathleen Gibson
music industry--record labels, jobs, etc, which will allow them to gain knowledge in this
area and see if it is something that they would want to pursue.
Students will develop skills in independency through having to figure out the
in’s-and-out’s of two notation softwares, collaboration though working on projects with
other students, and creativity by constantly writing and editing music.
Anc​hor Standard 1: Generate and conceptualize artistic ideas and work.
- Acc.MU:T.Cr1: Generate melodic,rhythmic, and harmonic ideas for
compositions and improvisations using digital tools and digital
resources.
Anchor Standard 2: Organize and develop artistic ideas and work.
- Acc.MU:T.Cr2: Select melodic,rhythmic, and harmonic ideas to develop
into a larger work that exhibits unity and variety using digital and analog
tools.
Anchor Standard 3: Refine and complete artistic work.
- Acc.MU:T.Cr3.1: Develop and implement varied strategies to improve and
refine the technical and expressive aspects of draft compositions and
improvisations.
Anchor Standard 6: Convey meaning through the presentation of artistic work
- Acc.MU:T.Pr6:
a. Using digital tools and resources, demonstrate technical accuracy
and expressive qualities in prepared and improvised
performances
School music programs have been based around the same thing for centuries: western
classical music. This course gives a chance for the community to see how there are
other ways for students to learn music as opposed to solely band, choir, and orchestra.
With technology ever-changing music and music making is following, as we can see
with all of the electronic music in today's world. By giving students the opportunity to
learn about music software through transposition, arranging, and composition the
community will be exposed to how accessible this technology is. Spreading information
about these technologies will then increase the amount of people who are interested or
want to use the software, then increasing the amount of people who are creating music.
The more that students talk about their classwork and collaborate with others the more
knowledge they are both gaining and spreading throughout the community.
● Sibelius Project 1: Introduction to Sibelius
○ Playing around on Sibelius for 5 minutes with guided questions (How
can you add another instrument? Where do you change the key
signature? etc.)
○ Students will be given an 8-measure excerpt from a well-known song
and transcribe it into Sibelius (voice and piano preferable; 2
instruments MAX)
● ProTools Project 1: Introduction to ProTools
○ Students export excerpt from previous project and import into ProTools,
playing around with the different sounds
○ Create a loop to be presented in class by changing and adding sounds
to the original 8-measure transcription
● *Sibelius Project 2 (S. 2) Arranging
○ Students will pick one of 4 short pieces (​Flight of the Bumblebee​,
 Kathleen Gibson

Solfeggietto​, ​Lagrima​, ​Eine Kline Gigue​)

○ Arrange the song with different instruments, adding a single, simple
accompaniment or changing the written accompaniment.
● Sibelius Project 3 (S. 3) Composition
○ Using AT LEAST 3 instruments, create a 1-minute piece of music
expressing an emotion (Can have a recurring theme)
● ProTools Project 2 (PT. 2)
○ Import composition from project S. 3 and completely change the
sounds, adding at least 2 other parts.
○ Present to the class
● Musicianship Project 1 (M. 1)
○ Group of no more than 3, students will create a complete
accompaniment to a given video
○ Composing on Sibelius, but must use at least 3 ProTools sounds
● Musicianship Project 2 (M. 2)
○ Create an individual song to be presented. Students can use any of the
resources available to them.
● Research Presentation
○ Throughout the semester students will have a “living” document where
they will answer questions about the music industry (What does it “do”?
Describe some of the jobs? What is a record label? What does a sound
engineer do? etc.)
○ Students will be in pairs and pick a record label to present on (visually)
■ Who is the owner? Who are some managers? Is there anyone
famous signed with the label? Who are the sound engineers
and what do they do?
 Kathleen Gibson

Project Pitch 

Context Statement:
This project is based in the Santa Monica-Malibu Unified school district in California and is for middle school aged
learners, grades 6-8. In this project learners will be using Sibelius to arrange a short song from a given list. Before
this project students will have explored Sibelius, transcribing an 8-measure excerpt and therefore knowing the
basics of music input for this software. For this arrangement in particular learners will be given the file with the
song already transcribed, but they must change the instrumentation and add a single accompaniment or change
the existing one. This project is designed to teach learners about instruments and their restraints (i.e. their range),
allowing the students to make decisions based on what they hear as opposed to what was written. After this
project students will be creating their own one-minute composition based on an emotion using at least three
instruments. Learners will be able to apply their skills learned when adding or changing the accompaniment line
for this current project, and they will also be able to make decisions based on their style that they had begun to
acquire through creating an accompaniment. This project will give learners skills in creativity by composing a
completely original piece, helping them determine who they are as a composer.

Stage 1 - Desired Results

Standards: Goals:
MIB.8.2 - The student
will use music
composition as a means
of expression by
notating the
composition in standard
notation using
contemporary
technology.
MIB.9 - The student will
define and apply music
terminology found in
the music literature
being studied.
● I can use Sibelius at the beginner level by creating an arrangement of a given
song. (S)
● I can create an accompaniment that matches the given melody OR I can edit
the given accompaniment and make it unique to my own arrangement. (K) (S)
● I can create dynamic contrast in my arrangement. (K) (M)
● I can explain the historical context of the given song and what the composer
originally intended for the song. (K) (W) (T)
● I can describe the musical decisions I am making with music terminology. (K)
(W)
● I can give constructive feedback to my peers using music terminology when
presenting our arrangements. (K) (T)

MIB.14 - The student

will begin to use
articulations, dynamic
contrast, and phrasing
as means of expression.

MIB.17.1 - The student

will demonstrate
musicianship and
 Kathleen Gibson

personal engagement
by identifying the
characteristic sound of
the instrument being
studied.

MIB.19.2 - The student

will explore historical
and cultural aspects of
music by describing
ways in which culture
and technology
influence the
development of
instruments,
instrumental music, and
instrumental musical
styles.

MIB.19.4 - The student

will explore historical
and cultural aspects of
music by describing
career options in music.

MIB.20.5. - The student

will analyze and
evaluate music by
describing accepted
criteria used for
critiquing musical
performances of self
and others.

MIB.21.4. - The student

will investigate aesthetic
concepts related to
music by identifying
ways in which music
evokes sensory,
emotional, and
intellectual responses,
including ways in which
music can be
persuasive.
 Kathleen Gibson

Generative (Essential) Questions:​ Broad questions that learner will word toward finding multiple and unique
answers. These questions encourage learners to dive deep (not easy to answer quickly and not answerable in only
one or two ways). For example:
-
- Why do instruments have different ranges?
- How can I create a new accompaniment to a melody that already has one?

Stage 2 - Evidence 

Students will be spending the majority of their classroom time working on this project. Because they have the
ability to choose between four different pieces there will be check-ups with the teacher on how the student is
doing.

Days 1&2:
- Students will pick a piece from the options listed and research the composer, context, and other important
information. Question list for the students:
- Who originally wrote this piece?
- Did this composer have any influencers?
- What inspired the piece (think about what was going on historically)?
- What instrument is the piece originally for?
- Does the piece have an accompaniment?
- What does this piece remind me of?
- List at least three facts about the piece.
- Other notable information?
- Students will show filled-out questions to teacher before moving on to the arrangement
- Students will import the given transcriptions of their chosen piece and begin to edit the instrumentation.
Days 3&4:
- Students will each have a 5-minute check-in with the teacher at the end of day 3 using this list:
- Y/N - Does the student have a piece selected?
- Y/N - Did the student research the piece?
- Y/N - Has the student imported the transcription?
- Y/N - Has the student begun to arrange the piece to make it their own?
- By the end of day 4 students should be progressing on their arrangements.
Days 5&6:
- Students will each have second 5-minute check-in with the teacher at the beginning of day 5
- Students will be assessed using this list:
- Y/N - Has the student changed their transcription?
- Y/N - Is the accompaniment being added/changed?
- Y/N - Are there musical elements (dynamics, tempo, time signature, etc)
- Y/N - Has the accompaniment been added to since the last check-in?
- The teacher will assess if the student seems stuck or needs assistance on the assignment.
- For the end of day 6 and beginning of day 7 the students will present their arrangements and give/receive
feedback.
- Y/N - Did the student give feedback to at least 2 people?
 Kathleen Gibson

Stage 3 – Learning Plan 

This project is based around creativity and learning the beginnings of composition, so the students spend the
majority of class time working individually on their projects. On the very first day we will spend the first ten
minutes of class going over the project and listening to all four pieces ​(​Flight of the Bumblebee​, ​Solfeggietto​,
Lagrima​, ​Eine Kline Gigue​) that they will then choose one from to arrange and add/edit the accompaniment.
Once all questions are answered students will have the remainder of the class period to pick a song and begin
researching it based on the given research questions (see Stage 2 - Evidence for question list). After the student
has finished researching the information on the piece they will show the teacher their answers in order to receive
the “OK” from the teacher to start working.
Once the student begins to work on their arrangement they will have the entirety of class time to work on it
except for two five-minute check-ins with the teacher to ensure that they are making progress. The first check-in
will be at the end of the third day and the teacher will use the given list (see Stage 2 - Evidence for list) to check on
students progress. While the teacher is talking to the student they are making sure that the student doesn’t seem
unsure or confused about anything and if they do then the teacher should supply help where needed. For
example, if a student was stuck on what instrumentation they wanted for the melody then the teacher could have
the student explain what instruments sound like (i.e. high, low, fast, slow, bright, muddy, etc) and then have the
student try and do the same with the melody, leading them to potential instruments they might like.
For the fourth day the teacher will be finishing up any check-ins that hadn’t been done the class before and float
around the room to see if students are on task and need any assistance. The fifth day will include another
five-minute check-in at the beginning of class. This check-in is to make sure students are far enough on their
arrangement that they will be able to finish before presentation start at the end of the next class period. During
this check-in the teacher will use the given list (see Stage 2 - Evidence for list) to check each student, again offering
help if the student needs it. For a student who has finished their arrangement early the teacher can give
suggestions as to things they can add, for example if the student already has the musical elements listed then the
teacher could challenge them to add another instrument for approximately half of the piece.
After all of the check-ins have finished students will have the remainder of class five and all except the last twenty
minutes of class six to work on their projects. When students present their arrangements to the class they will give
a brief explanation of their research finding (questions from the very beginning) and then play their
accompaniment. The class will give the student feedback, each student must give feedback to two other students,
on what they liked and what they could edit for next time.

Final Assessment  

Students will be assessed on their knowledge of the piece that they chose to arrange, if their
arrangement is unique to them, and their constructive feedback to the other students.

Goal/Quality No  Minimal  Meets  Exceeds 

 Kathleen Gibson

Evidence -  Evidence - 3  Expectations -  Expectations - 

2/1  4  5 

1. Context The student  The student  The student gave  The student gave 
gave no  vaguely discussed  correct  ample information 
information  the composer and  information on the  on the composer 
on the piece  context of the  composer and  and potential 
they  piece OR gave  accurately  influencers and 
arranged.  incorrect  explained the  text of the piece, 
information.   context.   including context 
of the time period. 

2. Arrangement The student  The student  The student  The student 

did not  created an  created an original  created an original 
*DOUBLE POINTS arrange the  arrangement of  arrangement of  arrangement of the 
piece.   the piece that did  the piece that  piece that included 
FOR THIS ROW*
not change  included new  new 
instrumentation  instrumentation  instrumentation, an 
or did not have a  and an original  original 
new  accompaniment  accompaniment 
accompaniment  line.   line, and added 
line.   another instrument 
somewhere in the 
piece.  

3. Feedback The student  The student gave  The student gave  The student gave 
gave no  feedback to one  constructive  constructive 
feedback.  student.   feedback to two  feedback to more 
students.   than two students. 

4. In-class work The student  The student was  The student was  The student was on 
was not on  partially on task  on task during  task during class 
task during  during class time,  class time, seldom  time, not becoming 
class time.   easily becoming  becoming  distracted and 
distracted by  distracted.   helping others if 
others or their  asked.  
phone.  
 Kathleen Gibson

Proposed Budget 

Item Name   Use   Cost  Quantit Overall Cost

(linked to provider)  (How will this be used by students/teacher?)  (per unit)  y

Sibelius Students will use Sibelius for their projects. $10/mo 10 $1200/yr
subscriptions

ProTools Students will use ProTools for their projects. $8.25/mo 10 $990/yr
Subscription

Headphones Students will need headphones when working on $17 10 $170

individual projects.

Headphone Students will need to be able to have multiple $6.40 15 $96

splitters headphones listening on one computer for group
projects.

Total Cost $2,456

Work Cited

Allsup, R. E. (2016). ​Remixing the classroom: Toward an open philosophy of music education.
Indianapolis, Indiana: Indiana University Press.

Bauer, W. I. (2016). ​Music learning today: Digital pedagogy for creating, performing, and
responding to music. ​New York, NY: Oxford University Press.

Carlos R. Abril, & Brent M. Gault. (2008). The State of Music in Secondary Schools: The
Principal’s Perspective. ​Journal of Research in Music Education​, ​56​(1), 68.

Reimer, B. (1966). A new curriculum for secondary general music. College Music Symposium,
6, 56-68.