Alex Ruthmann’s Blog

Back in the Fall of 2005 when I was first experimenting with Wikis in my middle school classroom, Eric Oatman, a news and features editor at the School Library Journal interviewed a number of teachers across the country (including me) about how we were using Wikis with our students.

The product of these interviews was an article on their website sharing a number of cool ways to integrate wikis into classes of all sorts. Though this article was written in 2005, it still provides a good overview of the possibilities of using wikis in your classroom. Since 2005, there have been many innovations in Wiki technology, most notably that many sites such as PBWiki.com and Wikispaces.com easily allow you and your students to create and manage wiki entries without having to know the special “markup” language many wiki interfaces required back in 2005. As with any technology, innovation continues and many become easier to use. Such has been the case with wikis over the past three years.

Back when I originally created the Emergent Encyclopedia of Composing for my middle school students, I browsed around and tested a number of free wiki sites and finally settled on PBWiki.com. I still use PBWiki today for my college classes because of its ease of use and multimedia features.

Since installing their new “point and click” interface back in January, users can now easily upload and post photos and streaming videos from YouTube, streaming audio from YackPack.com, add a chat room, install Google Gadgets, among other things.

As I have continued to experiment with wikis in music-related classes, the ability for students to create entries embedded with video and audio has become important. Though most wikis are optimized for textual and, to an extent, photographic-based collaboration, my students are moving toward conveying their ideas in audio and video form. Earlier this week Mojiti.com, previously featured on my blog here, released a new set of features that my students are already beginning to take advantage of.

The latest updates to Mojiti include:

• Multimedia annotations. Users can overlay/embed their own audio or video into a video.
• Freehand drawing support. Users can add their own Madden-style writing overlays.
• Mojiti-to-go Bookmarklet. This feature enables you to add a plug-in to your web browser which allows you to add Mojiti features to any streaming video hosted on the web.

Watch below or click here to see the new features in action.

Writing workshop educator Katie Wood Ray has written a great chapter on how to read like a teacher of writing. It has always been a challenge for me and with the methods students I work with to know how to find good pieces of music that can serve as models of compositional process for young composers.

An approach I have found useful in my own teaching has been to read Katie’s chapter, but instead substitute the word “listening” when she writes “reading,” substitute “piece of music” when she writes “text,” and substitute “composing” when she writes “writing.” The pedagogical models used in process writing classrooms and approaches to “listening” by Katie Wood Ray can have tremendous results when adapted for use to support student composing in music classes. Give it a try!

At the 2006 ATMI (Association for Technology in Music Instruction) conference, Dr. Jay Dorfman and Dr. Marc Jacoby featured some of my middle school students’ compositions and wiki entries from our Cranbrook Composers website as part of a panel discussion entitled: Loop-based Software: Philosophy and Practice.

Download their Powerpoint presentation here.

In my middle school classes, my students often began composing after analyzing an existing piece of music to serve as a model or example to get their own compositional ideas. Because my students were working with loop-based software, I tried to find intriguing pieces of music that were based around loops or extended ostinati. When I was listening to the CDs that accompany the new Silver Burdett Making Music series, I ran across a track in Grade 2 entitled Fish Food by electric cellist Gideon Freudmann.

I tracked Gideon down on the web through his website and asked him about his process for creating Fish Food:

I recorded Fish Food with my electric cello and a Lexicon JamMan - a nice rack-mounted looper that has not been on the market for several years. Lately I have been using a foot peddle looper - the Boss Loop Station (RC-20). It’s not stereo, but very easy to use and has some other nice features.

Fish Food is from my CD, Hologram Crackers which is an entire album of loop based electric cello instrumental tunes (all original. It’s available, along with my other CDs at http://www.cellobop.com. Fish Food is an unusual tune in that the “verse” has three measures in 7 and one in 6.

The tune was recorded mostly in one pass with the looper - playing the the strum phrase first and then building the layers of the loop on top of it. Once it was all there I improvised some leads over the top - again, all in the one pass. When I mixed it down, I started the piece at a point where the loop with all the layers were established (as opposed to some other tunes where left in each layer as they get added) and at the very end I overdubbed a few of the weird atonal sounds. The big chord that begins and ends the tune came from another tune and those were the last sounds to be added.” (personal communication)

Not only were my students informed by analyzing the recording of Fish Food, but they also were informed by Gideon’s personal process of working with a stand-alone loop-pedal and production process in his studio.

I wish as teachers we had access to more stories of the actual production and composing processes musicians use to create music today. I did find a few older sources, such as writings by Igor Stravinsky (Poetics of Music) and Aaron Copland (What to listen for in music.) but what about more contemporary music and musicians?

In the bargain bin at a Tuesday Morning, I found a great book entitled: Off the record: Songwriters on songwriting by Graham Nash. This book and set of audio CDs includes interviews with Randy Bachman, David Crosby, John Lee Hooker, and others.

Another interesting book is Talking Music: Conversations With John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers by William Duckworth. This book shares interviews and conversations with the above mentioned composers and others. I have found great quotes and descriptions of process in this book to share with my students.

For the most up-to-date examples of process, I have found Jon Savage’s Sound2Picture resources to be most intriguing. In this resource and in his own personal blog, Jon shares detailed notes and videos of sound designer Andrew Diey. In these notes, Andrew talks about his composing process for each of the films and computer games he composed for in the Sound2Picture and Sound2Game projects.

Lastly, Sam Reese pointed me in the direction of a great article by University of Illinois composer Stephen Taylor entitled: Translating unapproachable light: How composers write music. This article describes his own process composing a piece entitled: Unapproachable Light. Lots of great insight here that should be shared with student composers.

If you are interested in listening to Fish Food or using it with your students, check out the following information:
Fish Food (click to listen to and/or purchase from iTunes)
Gideon Freudmann - http://www.cellobop.com
2005 album Hologram Crackers

As a teacher, I am always looking for ways to better understand how my students think as composer-musicians. I often ask myself questions like:

• What are their conceptions and misconceptions about music and musical process?
  
• What are their challenges in the composing process?
• What are their musical intentions?
  

I have found the following three techniques to provide many insights that have helped me be a better teacher and more importantly, my students to be better peer-teachers.

Composers’ Commentaries

When I watch a DVD, I have the option at the end of the movie (or even at the beginning) to watch the move with overdubbed commentaries by the director and often the actors who made the movie. These commentaries provide additional information and insight into the processes of creating the film. Because I wanted to learn more about what my students were thinking as they composed their pieces and what they thought was important to share with the listeners of their compositions, I ask my students to record an additional commentary track on each of their compositions.

When students are finished with their compositions, they save one version with the commentary, and another without it. Here is an example of a composition entitled Rock to the Beat by one of my 6th grade students, Jessica Walton:

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What insights do you have into her compositional process and musical understanding after listening to her composition?

Here is her piece with her recorded commentary:

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What insights do you have into her compositional process and musical understanding after listening to her composition with recorded commentary?

Emergent Encyclopedia of Composing

When I first discovered the Wikipedia website, I was intrigued by its underlying concept - a website where anyone could easily contribute and collaborate to create an online encyclopedia. One of the first ideas I had a music teacher was to adapt this concept for use to support my students classroom composing experiences. Wouldn’t it be cool to have my students create an online encyclopedia of composing that contained their suggestions for what made a good piece of music and their own successful strategies for composing and working with our composing tools?

Click here to see what they created

Composition Logs

After reading a great online article by writing researcher and educator Katie Wood Ray entitled Read Like a Teacher of Writing, I decided to have my students create composition logs of each etude and composition they created throughout our middle school general music classes. When students start a composition, they begin to fill out their composition log. They revisit this log again when they decide to either abandon or finish their compositions. Here’s a link to the composition log we use:

Our Composition Log