Sign up now for summer music workshops and courses at UMass Lowell!This 3-day hands-on workshop will guide music educators through the fundamentals of recording, sound reinforcement, and sound systems. Sessions will include experiences in choral, instrumental and popular recording and reinforcement, fundamentals of acoustics and their impact on audio systems, and digital audio recording and editing.
This 2-day workshop will engage music educators in exploring and designing creative technology projects for music learning and teaching. Sessions will take place in UMass Lowell's iMac lab, with a focus on freely available software and mobile iPad technologies.
This 3-day hands-on workshop will cover how to evaluate instrument problems and perform simple repairs. Ares of discussion and demonstration include: woodwind key structure, pad issue, corks, brass valves, restringing, water keys, stuck slides, replacing percussion heads and snares, pedal tuning, preventative maintenance and tools and supplies every music educator should have.
The UMass Lowell Music Education program is partnering with the Massachusetts Instrumental and Choral Conductors Association (MICCA) in providing graduate credit for attending the 2nd Annual MICCA Summer Institute and Instrumental Music Workshop. Clinicians this year include John Culvahouse – Kennesaw State University and Anthony Maiello – George Mason University.
This course will explore educational and creative processes at the intersection of music, visual art and technology. Participants will interact with local artists, musicians and culture bearers, and engage in hands-on experiences making, creating and learning with technology. Drawing on the processes of digital curation and production, participants will work collaboratively using mobile and creative technologies, such as iPads and Flip video cameras, to collect, organize and produce learning materials, developing skills in mutual learning, reflective practice, and creativity. This course is offered as part of the UMass Lowell Summer International Institute drawing students from all of the world.
Over the past year, senior music education majors have been taking General Music Methods I and II with Dr. Gena Greher and me at UMass Lowell. Since October of 2008 these students have spent Wednesday mornings teaching 3rd, 6th and 7th grade classes at the Bartlett Community Partnership School here in Lowell, MA. 
Last week one group of our students invited the 7th grade class from the Bartlett School to spend the day at UMass Lowell recording a song the class arranged in the UMass Lowell recording studio.
The rehearsing and recording was facilitated by UML graduate sound recording technology major Tim Brault and UML music education majors Jo Price, Lindsey Sherman and Zach Cooper.
Pauline Sameshima's research and art-making center on looking at both the official and the hidden curriculum. She is interested in learning system designs, technology integration, collaborative and creative scholarship, eco-responsive pedagogies, and alternative forms of knowledge production and acknowledgment.
Pauline teaches math methods for elementary teachers, arts integration, and curriculum theory. She is an exhibiting multi-media artist, lyricist, and designer. Her artwork has been included in three editions of Night of Artists Biographies and Works, a Canadian publication archived at the National Gallery of Canada. She combines her professional interests with her experience teaching elementary public school for 17 years with five years in administration.
Andrew R. Brown in the Research Manager for the Australasian CRC for Interaction Design (ACID), teaches music and sound at the Queensland University of Technology (QUT), and coordinates the Computational Arts Research Group at QUT. His expertise is in technologies that support creativity and learning, computational music and art, and the philosophy of technology. His current research focuses on the aesthetics of computational processes and adaptive music for interactive entertainment. He is an active computer musician, computational artist, and a builder of software tools that support creativity.
Joe has been immersed in the software world for 30 years, and is also an active composer and pianist. Most recently VP of Engineering at the innovative e-commerce company Allurent, Joe was also Chief Architect at startup Ruckus Networks, and as a Senior Architect at ATG he led the development of a number of pioneering software products. Joe is a frequent and sought-after speaker at conferences on the Adobe Flash and Flex platforms and has contributed a substantial number of open-source projects to the Flex development community, ranging from pattern-based application frameworks to code coverage tools. Back in the misty dawn of time, he studied at New England Conservatory of Music.
Earlier this month Evan Tobias posted about Noteflight, a new online flash-based notation application available at http://www.noteflight.com/. Over the past few weeks I have been exploring this software with college students in my Technology in Music Education course and with high school students enrolled in a beginning piano class at Lowell High School (LHS). Those of you who know me know how apprehensive I am when it comes to using notation software with students in general music or other technology classes in K-12 schools. Most of my concern centers around the common conflation of "notation software" with "composing software." All too often I see teachers using notation software as a technological endpoint rather than as a means to the musical end of live performance. However, Noteflight is not your ordinary notation software.
Built in to the web application is the ability to share your scores with other users. These scores can be easily embedded just like a YouTube video in a class website. The embedded score can be played back by clicking on the play button and additional interactive functions are being planned which could be helpful in guided listening activities. Coming from a constructivist perspective, this functionality enables teachers to give students the opportunity to share their musical understanding in interactive ways within and beyond class time. For example, a band director could post a Noteflight score without added articulation. Students could then be assigned to add their own articulations to the score. During the next class, the students and director could choose a few scores to play through. This approach gives students the opportunity to make creative articulation decisions as composers, rather than traditionally learning it through listening and performing.
Ah! I shall tell you, mum,
What causes my torment.
Papa wants me to reason
Like an adult.
I say that candy
Is better than reason.
Posts
All Comments
