>I teach band in a junior high and am interested, along with our vocal
>teacher, of creating an electronic music lab in our building. Funds are
>available from grants. I have no idea what the upper limit of
>those funds would be.
Ooh aah. :-) Well, see below for some ideas.
>
>The help I need from you is to know what is available in equipment that
>would be good to use in a junior high as teaching and CREATING tools.
>
First, I can't recommend enough that, if you have sufficient resources
(both hardware and people), you get normally non-music folks in on the fun.
You may be very surprised at how people who normally never even thought
about being musicians suddenly become devoted to practice and learning
technique.
Equipment is far secondary to creating an environment in which the students
are not afraid to try things and to stretch themselves musically.
>1. What synthesizers?
>2. What keyboards?
>3. What computers?
>4. What programs?
>5. What about mixers?
>6. What else that I don't even know enough to ask?
There are a couple of different ways to approach the problem. (I guess with
input from others, this could end up being another good reference file!)
I) Traditionalist's studio
This is more appropriate to the students who are more interested in the
nuts and bolts of synthesis. Equipment is a couple-three reel-to-reel tape
recorders, an old analog synth (say an ARP 2600, Sequential Six-Trak,
Minimoog or Micromoog - anything with real knobs), a splicing block, and
plenty of tape. Introduce your students to the concepts first - waveforms,
filtering, recording techniques, and splicing - and then bombard them with
as much ear-stretching music as you can find to help them get ideas on how
the resources can be used. Everything from Karlheinz Stockhausen to Peter
Gabriel to Wendy Carlos to Charles Dodge.
Two projects in a semester is a pretty good number to shoot for given a
class size of 10-15.
Advantages: Low-cost, very good introduction to the basic principles and
techniques of electronic music; really pushes the students to discover
their creative boundaries. The restricted palette of techniques forces them
to explore the outer edges of the equipment.
Disadvantages: Very work-intensive and not well suited for larger classes.
Music is definitely not "commercial"; students anticipating being able to
do a complete orchestration will be disappointed. The skills learned are
valuable but not necessarily applicable to the current music scene.
Bill Fox (wbf@aloft.att.com) notes:
I'd add: Raid the local EE department, TV repair shops, pawn
shops, electronics outlets, junk yard, recording studios, etc. and get
(for cheap or free) old test equipment, oscillators, oscilloscopes,
filters, function generators, old radios/TVs/record players, amps,
speakers, processors, and anything else that can make, modify, or record
sound, be it electronic or some old piece of sheet metal you can bang on
with body parts, ball peen hammers, or ham sandwiches.
II) The micro-studio.
This is the approach I've used. The micro-studio consists of a
"workstation" keyboard - that is, a single keyboard which is multitimbral
and which has its own built-in sequencer. For recording, a simple cassette
deck is sufficient unless you intend to have the students create stuff for
a CD, say, in which case a DAT deck would serve better.
General procedure is to create tracks and record them on the workstation's
sequencer, building up the arrangement as you go, creating a master tape
after all of the tracks are laid down. How well this works is highly
dependent upon how good the built-in sequencer is. I have used the
sequencer on my Ensoniq VFXsd to do this and have been very satisfied.
Students will need to be taught how to arrange and orchestrate, at least
somewhat.
Advantages: Provides a fairly powerful basis from which to work with a good
bit of flexibility. Restricted amount of hardware allows students to
concentrate on producing music instead of trying to learn forty-seven
operating systems on keyboards and computers. Emphasis on orchestration
rather than simply throwing hardware at it.
Disadvantages: Students may easily hit the limits of the equipment and
become frustrated, especially if they are attempting to use
multi-oscillator voices in thicker polyphony. Requires more musical
sophistication.
III) The larger studio
To solution II above, add another synthesizer or more, perhaps some external
effects and modules. To use these effectively, it is best to go to a
computer-controlled setup; the computer should definitely be running a
sequencer (and an editor/librarian package if one is available). I personally
prefer a mixer and a good mastering deck to a multi-track recorder for
better quality, though the multi-track approach is cheaper.
Advantages: Incredible power and flexibility.
Disadvantages: Incredible power and flexibilty can be daunting to someone
unfamiliar with it; I still hesitate to try to do anything in some of my
friends' studios because I'm not altogether sure what's hooked to what.
(Nick Rothwell has observed ironically that he has the same problem in
his *own* studio.)
--- Joe M.
General observations by others:
Bill Fox (wbf@aloft.att.com):
I suggest that, since you say you have some budget, start with both I
and II. And II is something that you can grow into III as funding
permits. Just make sure that the workstation synth of method II can
still be used stand-alone for beginners not yet ready for (prime time)
the full blown studio in method III.
Bill Matthews (wmatthew@abacus.bates.edu) observes on options II and III:
Having taught both the workstation approach (albeit on older synths, a
DX7iiFD and an antique Casio CTsomething) I will add that students seem to
be able to get a better grasp on MIDI sequencing by using a software
sequencer -- the more low-end, the better. Piano roll notation, some
visual indication of program changes & channel numbers, etc., were picked
up quickly by all the students. If the workstation has only a cryptic
LED window and a bazillion buttons for editing, etc., students had more
trouble conceptualizing what was going on.
For software, we used Trax, which was fine, and costs less than $100.
This is not an ad for Trax; there are others that do the same job. To
some extent, seeing and hearing reinforce each other in the learning
process, so anything which gives a clear visual representation is helpful
pedagogically.
This is also not an ad for Macintosh, but my students have done better
work quicker on Macs than on pc's. The easy cut'n'paste editing &
click'n'go approach seems to work better for them. Caveat: I have not
tried newer Windows versions of available software.
The present pedagogical path is: elementary MIDI sequencing, midifiles
from ftp-land, sound tweaking on synth modules, Max, csound, digital
recording/editing (using Deck II) -- this path was relatively smooth on
our Mac 840AV platform, and we did it in a semester. (These are bright
liberal arts undergraduates.) We did not cover any one thing in *depth,*
obviously, but the students are getting a real feel for the range of
computer music possibilities, and most of them are downright exhilarated,
turning out really interesting work after only ten weeks of experience.
Rob Wallace (29220@EF.GC.MARICOPA.EDU) reports:
There is an article in the April 94 issue of Electronic Musician called,
"Music Education Software for Children". It is useful and also provides a
pretty darn complete listing of the pulishers that have good products.
A much more important factor in the social movement than those already mentioned was the ever-increasing influence of women. This probably stood at the lowest point to which it has ever fallen, during the classic age of Greek life and thought. In the history of Thucydides, so far as it forms a connected series of events, four times only during a period of nearly seventy years does a woman cross the scene. In each instance her apparition only lasts for a moment. In three of the four instances she is a queen or a princess, and belongs either to the half-barbarous kingdoms of northern Hellas or to wholly barbarous Thrace. In the one remaining instance208— that of the woman who helps some of the trapped Thebans to make their escape from Plataea—while her deed of mercy will live for ever, her name is for ever lost.319 But no sooner did philosophy abandon physics for ethics and religion than the importance of those subjects to women was perceived, first by Socrates, and after him by Xenophon and Plato. Women are said to have attended Plato’s lectures disguised as men. Women formed part of the circle which gathered round Epicurus in his suburban retreat. Others aspired not only to learn but to teach. Arêtê, the daughter of Aristippus, handed on the Cyrenaic doctrine to her son, the younger Aristippus. Hipparchia, the wife of Crates the Cynic, earned a place among the representatives of his school. But all these were exceptions; some of them belonged to the class of Hetaerae; and philosophy, although it might address itself to them, remained unaffected by their influence. The case was widely different in Rome, where women were far more highly honoured than in Greece;320 and even if the prominent part assigned to them in the legendary history of the city be a proof, among others, of its untrustworthiness, still that such stories should be thought worth inventing and preserving is an indirect proof of the extent to which feminine influence prevailed. With the loss of political liberty, their importance, as always happens at such a conjuncture, was considerably increased. Under a personal government there is far more scope for intrigue than where law is king; and as intriguers women are at least the209 equals of men. Moreover, they profited fully by the levelling tendencies of the age. One great service of the imperial jurisconsults was to remove some of the disabilities under which women formerly suffered. According to the old law, they were placed under male guardianship through their whole life, but this restraint was first reduced to a legal fiction by compelling the guardian to do what they wished, and at last it was entirely abolished. Their powers both of inheritance and bequest were extended; they frequently possessed immense wealth; and their wealth was sometimes expended for purposes of public munificence. Their social freedom seems to have been unlimited, and they formed combinations among themselves which probably served to increase their general influence.321 The old religions of Greece and Italy were essentially oracular. While inculcating the existence of supernatural beings, and prescribing the modes according to which such beings were to be worshipped, they paid most attention to the interpretation of the signs by which either future events in general, or the consequences of particular actions, were supposed to be divinely revealed. Of these intimations, some were given to the whole world, so that he who ran might read, others were reserved for certain favoured localities, and only communicated through the appointed ministers of the god. The Delphic oracle in particular enjoyed an enormous reputation both among Greeks and barbarians for guidance afforded under the latter conditions; and during a considerable period it may even be said to have directed the course of Hellenic civilisation. It was also under this form that supernatural religion suffered most injury from the great intellectual movement which followed the Persian wars. Men who had learned to study the constant sequences of Nature for themselves, and to shape their conduct according to fixed principles of prudence or of justice, either thought it irreverent to trouble the god about questions on which they were competent to form an opinion for themselves, or did not choose to place a well-considered scheme at the mercy of his possibly interested responses. That such a revolution occurred about the middle of the fifth century B.C., seems proved by the great change of tone in reference to this subject which one perceives on passing from Aeschylus to Sophocles. That anyone should question the veracity of an oracle is a supposition which never crosses the mind of the elder dramatist. A knowledge of augury counts among the greatest benefits222 conferred by Prometheus on mankind, and the Titan brings Zeus himself to terms by his acquaintance with the secrets of destiny. Sophocles, on the other hand, evidently has to deal with a sceptical generation, despising prophecies and needing to be warned of the fearful consequences brought about by neglecting their injunctions. The stranger had a pleasant, round face, with eyes that twinkled in spite of the creases around them that showed worry. No wonder he was worried, Sandy thought: having deserted the craft they had foiled in its attempt to get the gems, the man had returned from some short foray to discover his craft replaced by another. “Thanks,” Dick retorted, without smiling. When they reached him, in the dying glow of the flashlight Dick trained on a body lying in a heap, they identified the man who had been warned by his gypsy fortune teller to “look out for a hidden enemy.” He was lying at full length in the mould and leaves. "But that is sport," she answered carelessly. On the retirement of Townshend, Walpole reigned supreme and without a rival in the Cabinet. Henry Pelham was made Secretary at War; Compton Earl of Wilmington Privy Seal. He left foreign affairs chiefly to Stanhope, now Lord Harrington, and to the Duke of Newcastle, impressing on them by all means to avoid quarrels with foreign Powers, and maintain the blessings of peace. With all the faults of Walpole, this was the praise of his political system, which system, on the meeting of Parliament in the spring of 1731, was violently attacked by Wyndham and Pulteney, on the plea that we were making ruinous treaties, and sacrificing British interests, in order to benefit Hanover, the eternal millstone round the neck of England. Pulteney and Bolingbroke carried the same attack into the pages of The Craftsman, but they failed to move Walpole, or to shake his power. The English Government, instead of treating Wilkes with a dignified indifference, was weak enough to show how deeply it was touched by him, dismissed him from his commission of Colonel of the Buckinghamshire Militia, and treated Lord Temple as an abettor of his, by depriving him of the Lord-Lieutenancy of the same county, and striking his name from the list of Privy Councillors, giving the Lord-Lieutenancy to Dashwood, now Lord Le Despencer. "I tell you what I'll do," said the Deacon, after a little consideration. "I feel as if both Si and you kin stand a little more'n you had yesterday. I'll cook two to-day. We'll send a big cupful over to Capt. McGillicuddy. That'll leave us two for to-morrer. After that we'll have to trust to Providence." "Indeed you won't," said the Surgeon decisively. "You'll go straight home, and stay there until you are well. You won't be fit for duty for at least a month yet, if then. If you went out into camp now you would have a relapse, and be dead inside of a week. The country between here and Chattanooga is dotted with the graves of men who have been sent back to the front too soon." "Adone do wud that—though you sound more as if you wur in a black temper wud me than as if you pitied me." "Wot about this gal he's married?" "Don't come any further." "Davy, it 'ud be cruel of us to go and leave him." "Insolent priest!" interrupted De Boteler, "do you dare to justify what you have done? Now, by my faith, if you had with proper humility acknowledged your fault and sued for pardon—pardon you should have had. But now, you leave this castle instantly. I will teach you that De Boteler will yet be master of his own house, and his own vassals. And here I swear (and the baron of Sudley uttered an imprecation) that, for your meddling knavery, no priest or monk shall ever again abide here. If the varlets want to shrieve, they can go to the Abbey; and if they want to hear mass, a priest can come from Winchcombe. But never shall another of your meddling fraternity abide at Sudley while Roland de Boteler is its lord." "My lord," said Edith, in her defence, "this woman has sworn falsely. The medicine I gave was a sovereign remedy, if given as I ordered. Ten drops would have saved the child's life; but the contents of the phial destroyed it. The words I uttered were prayers for the life of the child. My children, and all who know me, can bear witness that I have a custom of asking His blessing upon all I take in hand. I raised my eyes towards heaven, and muttered words; but, my lord, they were words of prayer—and I looked up as I prayed, to the footstool of the Lord. 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