Bradley
Bloom is
Professor of Music at Schoolcraft College and Adjunct Lecturer at the University
of Michigan |
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 BRADLEY
BLOOM
 o
you remember when you secretly (or for that matter, openly) committed
yourself to lifelong performance or teaching of music as a result of hearing
a spectacular concert and ensemble? And was that experience pregnant with
goose bumps and seemingly endless chills up and down the spine?
We can usually use these subjective events, whatever the vehicle, as
a common ground for the sharing of similar experiences. For example, as
an impressionable youth, I will never forget hearing within the same year
the University of Michigan Symphony Band under William Revelli and the
Men's Glee Club under Philip Duey . Those experiences provided goose bump
overload as well as career fantasies.
As an educator/conductor for over 25 years, I have had the privilege
and good fortune to realize these career inclinations in many guises.
They include associations with university, community college, K-12, church,
professional and community choral and orchestral venues. These associations
have led to demands of stylistic diversity that include the interpretation
and teaching of compositions in the areas of fine art, musical theater,
dance, jazz, and folk music. I have had opportunities to conduct and/or
teach in each of these areas and have experienced multiple triumphs along
with the accompanying goose bumps.
Changes
 hroughout
the course of my career, I have witnessed significant changes in the approach
to the conducting or teaching of music. The most significant change is the
product of the computer and computer-related music technology. Herein lies
the newest tool to expedite and facilitate music education, performance,
and research. To a traditionally trained musician such as myself, and a
relatively new user of the technology, the application of computer-assisted
teaching has promoted a whole new strain of what could be called digital
goose bumps (that's where zeros and ones break out all over your body).
I cannot deny the personal gratification I receive when a student learns
the discipline of the art more quickly and efficiently and with greater
curiosity as a direct result of using technology. The application of computer-assisted
teaching, performance, and research has led me to a renaissance of teaching
methodology and enthusiasm for discovery limited only by my own imagination.
Getting Started
My situation at Schoolcraft College is no different from that of many other
public institutions: money for capital equipment is limited, and administrators
need to feel justified in granting large sums of money to any department.
Here is a brief history of how I acquired nine MIDI/computer workstations.
First, I acquired (for free) an outdated computer that our computer instructional
services no longer needed. Yes, it was slow and lacking many bells and
whistles, but it did provide access to computer fundamental functions
and the ability to handle relatively complex music software. Fortunately,
I had just purchased a keyboard synthesizer for the vocal jazz ensemble
that was MIDI compatible. At the time of purchase (1988) my reaction to
MIDI was, "I don't think I'll ever use this." Little did I know.
A friend then loaned me some very early versions of sequencing and notation
software. That summer's learning curve was understandably high, but not
without intellectual gain and foresight into educational applications.
The following fall I demonstrated my newly found skills for the Vice President
of Instruction. An in-house grant of over $100,000 followed, and I was
both hooked and committed. Our MIDI/computer lab at Schoolcraft College
is one of the best such instructional labs in the state.
Applications
 ere
are applications I use frequently with the goal of establishing a totally
paperless classroom in all of my academic subjects within two years.
In recent issues of MICHIGAN MUSICTECH,
Barton Polot provided some helpful information about the Internet, a very
useful and powerful research tool that can be used for a wide variety
of applications. On the Net you can access volumes of information on any
number of topics. The April 1994 edition of the ACDA Choral Journal
and the October 1994 Electronic Musician contain helpful information
to start you on the information super highway.
Shopping for software that will accomplish specific objectives in the
classroom can be time-consuming and, at times, frustrating. I suggest
looking for software that allows for customization. For fundamental music
theory drills and rudimentary ear training, I use Practica Musica
by Ars Nova. The newest revision
(3.x) is vastly improved over earlier versions and allows for the construction
of rhythmic, melodic, and harmonic exercises conducive to the users' classroom.
It is MIDI compatible, but can also play sounds through your computer's
speaker without any MIDI hardware. Another software program dedicated
to beginning and advanced theoretical drill is the HyperCard-based Music
Theory Tutor from WCB. It can drill everything from scales and intervals
to augmented and Neapolitan 6ths. It is not MIDI compatible, however.
Two of the most versatile MIDI software packages are Performer
by Mark of the Unicorn and Finale
by Coda. With Performer, not
only can you capture editable data for playback at a later time, but you
can also construct sequences for ear training and/or drill. You can create
your own Music Minus One (remember that one?) to expedite a student's
reading process. Hearing parts in context with other parts is a definite
advantage over only hearing your own part in a secluded practice room.
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