Lisa Zdechlik, is Assistant Professor of Class Piano and Piano Pedagogy at the University of Arizona. An active performer, educator and clinician, she has presented workshops on pedagogical topics at the state and national levels. Her research involves the interaction between music analysis and performance and the applications of current technologies to music learning. Former faculty appointments include San Diego State University, Grossmont College and San Diego Mesa College. Dr. Zdechlik holds a D.M.A. in Piano Performance and Pedagogy from the University of Oklahoma, where she was recently awarded the 2002 Dissertation Prize in Education, Fine Arts and the Professions for her dissertation, Texture and Pedaling in Selected Nocturnes of FrŽdŽric Chopin.
Lisa Zdechlik
School of Music
University of Arizona
Tuscon, AZ 85721
520.626.9523
zdechlik@email.arizona.edu
In this session, George Litterst presented some of the newer possibilities for using computers in the classroom, highlighting some of the instructional applications of the program, Home Concert 2000. Most music educators are familiar with traditional computer applications in the keyboard lab such as music theory, ear training, and composition programs, but not all have considered the Internet resources that are available once you introduce computers in the classroom. In this session, George introduced participants to some of the Internet resources available for instruction including online lessons, long distance instruction, research, grading, and feedback.
To demonstrate the potential of videoconferencing with students, George arranged a videoconference with Laura Beauchamp-Williamson (the absent co-developer of this conference) and her newborn baby girl, Rebecca. The windows program Polycom was used to access Laura and Rebecca in South Carolina. This gave us perspective into where the future is going with internet based instruction such as online lessons and videoconferencing. George made the interesting point that in teaching class piano, we have already begun to learn how to teach at a distance in that we are not at the "site" of every student. So if we think about projecting that distance a little farther and put that individual student in a window (the computer screen), long-distance piano instruction is not such a fanciful idea.
What does putting it all together in a 21st century piano laboratory look like? Put a computer and a digital keyboard together, add the program, Home Concert 2000, combine with a Standard MIDI file, mix in one student or more, and you have created a dynamic learning environment. Home Concert 2000, which George co-developed with Frank Weinstock, can be used for instruction in music fundamentals or to support and enhance keyboard performance within the class piano curriculum or the private lesson. Home Concert 2000 will open any Standard MIDI file. Consider the resources at hand then from the thousands of Standard MIDI files accessible on the Internet to the Standard MIDI files available with most current piano methods.
When you open a file in Home Concert 2000, the program displays the separate tracks of the MIDI file on the computer screen. When you select a track, the program will transcribe it into an electronic picture of music notation, displaying the music on the computer screen. As you begin to play, each progressive measure is highlighted, indicating your place in the music. As you approach the bottom of a page, the program will turn the page, displaying the bottom of the current page and the top systems of the upcoming page.
What the program is fundamentally able to do is called "score following." The score following task is able to figure out 1) location, 2) changes in tempo, and 3) changes in the dynamic level. George first demonstrated the ability of the program to follow the score and track what the performer is doing in terms of tempo using the Duncombe piano composition, Fanfare, and a Standard MIDI file from Alfred Publishing Company. As he played, George deliberately altered the tempo in a number of places. The program, like a sensitive accompanist, responded to all his tempo changes, whether subtle or dramatic.
In working with Home Concert 2000, a student can access three different modes: Learn, Jam, and Perform. Each time you click on one of the modes, some of the choices are removed because they don't apply to that mode. For instance, in the Learn Mode, the tempo is turned off so the software will not follow the performer's tempo. The objective in the Learn Mode is to learn to play the correct notes in the correct time. So if you are not able to play the correct note at the correct time, the program will pause and wait for you to get it right. Or, if you make a mistake, the program will pause and expect you to correct the inaccuracy before allowing you to continue. In addition, when you pause, a red light flashes on an "on-screen keyboard," assisting you by displaying the correct note.
George pointed out that concepts of musicality are magnified when using Home Concert 2000 because the entire ensemble follows the performer's musical expressions. For instance, when the performer changes dynamic levels, the entire ensemble will follow the performer's dynamics, magnifying the changes. This mode then is particularly effective when helping the student decide on and refine his or her musical concepts of a piece.
In the Jam Mode, the performer can set the initial tempo, after which the program's "job" is to strictly maintain this tempo and not respond to changes in the performer's tempo. Hence, this mode can be used to develop an accurate, strict rhythmic sense. Another feature of theJam Mode is that it allows you to place markers in the score. One such marker called "wait for soloist" enables you to create stopping places for the student. The "wait for soloist" marker might be used in the case of a student who was having trouble getting to a certain measure on time. For instance, if the student was experiencing difficulty getting to measure 10 on time, you could place a marker at this measure. Now, every time the program arrives at measure 10, it will stop. This pause allows the student to find her place, recompose herself, and then move on when she is ready. The point of this then is to gradually reduce the amount of pause-time until the student is able to eliminate the pause entirely and play through the problem.
In the Perform Mode, the program allows you complete freedom. It will follow both tempo and dynamics; you can even skip a measure and the program will follow you. The program also records behind your back without you even knowing it. A practice scenario in working with this mode is to challenge the student to maintain a steady tempo at 100%. After the student has played, ask him to use the program's playback feature and evaluate his performance for a 100% steady tempo. When introducing the concept of rubato to a student, the Perform Mode is particularly effective because it will follow the student's rhythmic nuances. George demonstrated this with Barbara Kreader's composition, "Longing" from the Hal Leonard Student Library. MIDI files are authored with a steady tempo so George first demonstrated the file at this steady tempo. Then, he re-played "Longing" in Perform Mode using rubato, the accompaniment taking time where he took time. This was an amazing demonstration of the potential of Home Concert 2000 to help students develop artistry and sensitivity in their performances.
Other features of Home Concert 2000 include the ability to play one hand at a time in any of the modes, a looping function to repeat specified measures, and a piano roll that enables the learner to see a graphic notation of the score. In the remaining minutes, George fielded questions from participants; of course, the primary question was, "How much does this cost?" The price of an individual copy of Home Concert 2000 is a surprisingly inexpensive $99.00; twelve copies sell for approximately $320.00. Check out the website www.timewarptech.com if you are interested in further details on Home Concert 2000.
In closing, George pointed out that once you attach a computer to a keyboard, it promotes a new level of interactivity. Once the learner has been introduced to the many possibilities of instruction with this technology, the teacher can step out of the way, allowing the learner to develop independence and critical thinking skills in his/her own performance and musical understanding.
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