Edward Gattsek

A&HM 4029

Introduction to New Technologies in Music Education

Dr. James Frankel

Summer 2004 ­ 7/14/04

Project #3 - Elementary Lesson Plan



Students will compose a pandiatonic work using computers as a compositional tool. 



This is an early unit in the composition curriculum.  It serves to expose children to making music alone with their computers while building on the work done in groups with instruments.





This activity will follow a lesson in which the students are introduced to the Orff and percussion instruments (these will serve as their primary means by which they can make music in groups).  With these instruments they will have played basic musical phrases from notation and even combined them to make different musical ideas and perhaps even some prolonged improvisations.


To specifically begin this lesson the students will listen to recordings of pandiatonic pieces that they made the previous class with the acoustic instruments.  We will revisit pandiatonicism and discuss the use of the computer.



After the anticipatory set the students will each work alone to compose their own piece.  They will have been exposed to pandiatonicism and even created it themselves.  Now they get to truly experiment with it by themselves.  Using the copy and paste feature of the notation software package, students will place the melodic motives in various measures and listen to the resulting MIDI file (using headphones).  Students will use their own criteria for determining what sounds ³right².  Experimentation and exploration of the various possibilities will be encouraged. 



The teacher will be sure to look in on each student during the individual creative process.  The teacher will listen to the studentsı compositions at various stages throughout the class period and give the student feedback and possibly suggestions on where to go from there. 



At the end of class there will be an informal ³concert² of the resulting works and each composer will be asked (orally) to explain what method of composition he or she used if any at all?



From here students could be encouraged to compose their own melodic motives and the activity could become completely student-generated.  Also this might be a great follow up or precursor to teaching the major scale and/or basic triads.  Out of this lesson also a teacher might choose to explore dissonance and consonance and the compositional techniques used to create them (Serialism, diatonic harmony, etc.)


A model of what the teacher-generated materials might look like.



Blank Staves


Bank One

Bank Two