Contents
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The TBMI Lesson Content Spectrum The TBMI Lesson Content Spectrum
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The Cycle of Mastery The Cycle of Mastery
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Layering Cycles Layering Cycles
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Further Examples of the Cycle of Mastery Further Examples of the Cycle of Mastery
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Role #1—Composing Role #1—Composing
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Rap Beat Project Rap Beat Project
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Free Composing with Hyperscore Free Composing with Hyperscore
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Observed procedures (over the course of several lessons): Observed procedures (over the course of several lessons):
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Analysis/commentary: Analysis/commentary:
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Mythology Story Composition Mythology Story Composition
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Observed procedures (over the course of several lessons): Observed procedures (over the course of several lessons):
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Analysis/commentary: Analysis/commentary:
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Melody Writing Melody Writing
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Arranging a Chosen Piece Arranging a Chosen Piece
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Soundscapes Soundscapes
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Movie Trailer Project Movie Trailer Project
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Adding a Bassline Adding a Bassline
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Role #2: Performing Role #2: Performing
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Drum Machine Programming Drum Machine Programming
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Podcast Creation Podcast Creation
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Live Sound Reinforcement Live Sound Reinforcement
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Role #3: Improvising Role #3: Improvising
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Blues Improvisation Blues Improvisation
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Role #4: Listening Role #4: Listening
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Technology-enhanced Listening Journal Technology-enhanced Listening Journal
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Cover Project Cover Project
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Level observed: high school Level observed: high school
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Mixing Mixing
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Role #5: Music Theory Role #5: Music Theory
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Theme and Variation Theme and Variation
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Scale Construction Scale Construction
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Transposition Transposition
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Suggested tools: keyboards, notation software, playing example Suggested tools: keyboards, notation software, playing example
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Analysis/commentary: Analysis/commentary:
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Pop Song Chord Progressions Pop Song Chord Progressions
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Orchestration Orchestration
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Role #6: Musicology Role #6: Musicology
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Critiquing Critiquing
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Creating Compilations Creating Compilations
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Observed procedures: Observed procedures:
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Analysis/commentary: Analysis/commentary:
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Role #7: Music Teaching Role #7: Music Teaching
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Summary of Chapter 6 Summary of Chapter 6
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Items for Discussion Items for Discussion
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Chapter 6 Lesson Design in Technology-Based Music Instruction
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Published:May 2013
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Abstract
The content of individual lessons and units in TBMI classrooms falls somewhere on a spectrum of content, as seen in Figure 6.1. At the left end of the spectrum fall activities that are purely musical. Even in TBMI classes, we can occasionally design activities that we believe address long-term goals and short-term objectives that are purely musical. For example, when we ask our students to rehearse or perform a piece of music (although it may eventually be recorded, edited, mixed, etc.), we are addressing musical goals through musical activities without integrating technology. At the right end of this spectrum fall activities that are purely technological. These activities may include procedures for digital file management, techniques within software, or hardware connectivity and maintenance. Even though the broader content of TBMI classes should be musical, the focus on technology in lessons that fall to the right side of the spectrum is one of the ideas that separate TBMI classes from traditional music classes. We include lessons that focus on technology because those are the tools in use to make music. It is important that students learn how to use them properly, and teachers should consider it their responsibility to include lessons that meet this description. Purity of content is rare. In truth, longer-term sequences of TBMI might be categorized in one of two ways: Lessons fall somewhere in the middle of the spectrum. This indicates that the lesson has some content that is musical and some that is technological. The teacher artfully blends them together so that students recognize the application of technology to music, and of music to technology. Lessons shift from one end of the spectrum to the other, perhaps exhibiting more than one shift within a class period. Sometimes it is necessary to explore a musical concept in non-technological ways, then shift to a technological technique that will further address that concept. So, when the activities associated with the two phases of the lesson are combined, we achieve “neutrality” along the spectrum. Also, it should be acknowledged that this spectrum of lesson content depicts lessons under ideal circumstances.
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