StAC Students Team Up To Form Souldrop

band

The four members of Souldrop

Recently I caught up with Finn Perring, Anna Bennetto and Grace Dephoff who are part of a wider group of students that make up the band Souldrop. Anna leads the vocals, Finn plays bass guitar and Fin Gilzean (St Thomas of Canterbury College) plays lead guitar whilst Elliot Millar (Burnside High School) is on the drums. Formed in April 2016, their first single Mill Bay was released in August with an accompanying music video shot and edited by Grace Dephoff and their 5 track EP will be available from the 9th September 2016.

UPDATE 25/9/16 The band’s self-titled EP is now available and embedded below via Spotify:

 

I was particularly interested in the technology the band used to record the track as well as edit the video, however to understand all of this it was important to learn of the various musical influences on the band.

  • Elliot is a jazz and big band drummer, representing Burnside High School in various musical competitions.
  • Fin learnt blues and classic rock guitar, mostly from his father
  • Anna has been performing for over ten years in musical theatre shows, as a jazz singer in various bands as well as one soul band.
  • Finn is a classically trained guitarist who plays Spanish flamenco guitar, but bass for Souldrop.

Recording & mastering the audio track:

Most of the audio track was recorded in the St Andrew’s College recording studio with the vocals, drums and bass all being laid down in this environment. The lead guitar parts, however, were recorded in Fin’s bedroom using Apple’s Garageband. Once finished, these guitar recordings were sent to the other Finn (Perring) to add to the other instruments and mix the recording in Apple’s Logic Pro X. To this end, the band never played the entire song together in the same room during the recording process, instead relying on the use of over-dubbing to achieve the best sound.

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From a non-musicians perspective, I found this a fascinating way to craft a complete song, through the selective and judicious extracting of various takes of the song and merging them all together in an order that produces the best quality song. Additionally, the song was a very collaborative effort with the idea of the song first coming in a formative stage to Finn Perring around two years ago, before drummer Elliot and lead singer Anna co-wrote the lyrics for the song.

Recording & editing the music video:

Grace Dephoff filmed all of the footage for the video in a single afternoon using a Canon 70D camera with the 16-24mm lens and a 50mm lens borrowed from Mr Dave Jensen who works in the TV studio at St Andrew’s College. There was a limited script for the recording of the music video, instead a desire to keep it as natural as possible for the band members. One of the most clever features of the music video is the fact it is in slow motion, whilst keeping the music and singing in real time.

filming

Grace Dephoff filming the band

This was achieved by having the band perform the song at 1.5x normal speed from speakers that they could hear to help them keep time, whilst Grace filmed at 50fps so that it could be later slowed down to 67% normal speed and still look smooth after this editing had taken place. The end effect makes it look like the band are in time to the song, even though they are in slow motion. Grace had learnt of this technique from a former guitar teacher she and the whole band were thrilled with the end result and how it looked.

To edit the hours of video footage, Grace used Apple’s Final Cut Pro, a tool she was largely self-taught in after graduating from using Apple iMovie for a number of years, including winning numerous prizes at the annual St Andrew’s College Film Fest. All up, she spent around 10 hours editing the footage and another 6 hours completing the colour grading in the video.

Distributing and Promoting the single:

The band are using a combination of word of mouth and social media to get exposure for the first single Mill Bay, combining messages on Facebook, Instagram and, of course, the YouTube channel itself. They have added a number of live performances as well, including lunchtime shows in the St Andrew’s College Quad, an assembly at Burnside High School and a performance at St Thomas of Canterbury College as well. There is a planned interview on 98RDU radio station as well on 14th September.

TunecoreLogoThe song has been released through TuneCore which is a digital media distribution company which automatically publishes the song to the main digital music platforms including Spotify, iTunes, Amazon, Google Play, Shazaam and the YouTube channel the band have created as well. Anna and Finn’s focus at this stage is getting the song out to as wide an audience as possible and any revenue that is generated from the track being played is a bonus. TuneCore will send the band monthly statistics around the performance of the song on the various platforms.

In terms of copyright and protecting the song, the band have chosen to use the Creative Commons licensing platform. They recognise that this license might not stop another band from being able to sample their work, but they will be required to acknowledge Souldrop as the source of the original content for the sample.

What’s Next?

The band are keen to keep gigging and playing as many live performances as possible to increase their exposure and improve as a unit. They are also thinking about recording another music video for one of the other tracks on the soon to be released EP.

My Thoughts

I have been super impressed with the members of the band that I have met so far, both in terms of their musical ability but also their technical skills to be able to produce such high quality recordings and videos. It is always pleasing to see that skills that have been taught and learnt at St Andrew’s College are finding a creative outlet in the areas of student’s own interests such as being part of a band.

team

The wider Souldrop crew including Anna Bennetto (back row, second from right), Finn Perring (back row, far right) and Grace Dephoff (from row, first on the left)

This song and video highlight how technology has enabled students to create high quality, professional looking videos and promote them digitally to an international audience. When I pointed this out to Finn, Anna and Grace their reaction was a mixture of pride and nonchalance in the work they had created, highlighting to me just how natural the use of this technology is to students these days. Importantly, they had thought about using Creative Commons to copyright their work demonstrating an inherent understanding of the value of their music and video.

Finally, there is opportunities for this work to be credited against various NCEA internal Achievement Standards in some subjects (mainly English/Music) which would be a serendipitous outcome of what is essentially a passion project for these students. This is, perhaps, one of the biggest outcomes and reasons to pause for thought from this. If schools were able to recognise the creative output of students in areas of their interests perhaps we would finally see the flexibility of NCEA that is often talked about, yet rarely achieved.

eLearning Through The Lens Of Key Competencies

EdTech SummitIn the last week of Term 2 I had the opportunity to present at the NZ Tech Advance Education Technology Summit hosted at Massey University’s Albany Campus. Key topics and subjects discussed include:

  • Inquiry | Creativity | Collaboration – The role of technology in modern learning
  • Developing teacher understanding and encouraging implementation of collaborative and digital learning methods
  • Integrating and encouraging digital technology adoption in curriculum and classroom
  • The new narrative: IT training and computational thinking
  • Building technology into the curriculum – lessons, challenges and what we’ve learnt along the way
  • Collaboration at the forefront of today’s teaching environment

When preparing what I wanted to share at the 40 minute session I had been given, I decided on using the Key Competencies from the New Zealand Curriculum to explain why some examples of eLearning from four St Andrew’s College teachers had been successful. Additionally, I wanted to use authentic student voice to highlight this – fortunately, having been blogging on this site for over two years now there was plenty of examples I could draw on.

If you are interested in an independent view of my session then you can see this micro blogs from Nathaniel Louwrens here and this brief reflection from Andrew Corney here. You can download a full copy of my slides from the presentation from this link on dropbox.com.

The Key Competencies are at the heart of great teaching and learning in New Zealand and are the bedrock upon which effective eLearning can be built on.

Key Competencies

The Key Competencies from the NZ Curriculum

It’s worth reading over the entire descriptions of learners who demonstrate the 5 Key Competencies but some highlights I pulled out to share at the conference included:

  • Thinking: is about using creative, critical, and metacognitive processes to make sense of information, experiences, and ideas … Intellectual curiosity is at the heart of this competency … [Students] reflect on their own learning, draw on personal knowledge and intuitions, ask questions, and challenge the basis of assumptions and perceptions.
  • Using Language, Symbols and Texts:  Using language, symbols, and texts is about working with and making meaning of the codes in which knowledge is expressed  … Students who are competent users … can interpret and use words, number, images, … and technologies in a range of contexts … They confidently use ICT to access and provide information and to communicate with others
  • Managing Self: This competency is associated with self-motivation, a “can-do” attitude, and with students seeing themselves as capable learners … It is integral to self-assessment.
  • Relating To Others: Students who relate well to others are open to new learning and able to take different roles in different situations … By working effectively together, they can come up with new approaches, ideas, and ways of thinking.
  • Participating & Contributing: This competency is about being actively involved in communities … They may be local, national, or global. This competency includes a capacity … to make connections with others, and to create opportunities for others in the group.

I started the session off by highlighting the fact that often ICT is talked about in terms of risk. This can come from security breaches, budget blow-outs and ICT project cost overruns, not to mention distracted and off-task behaviour when using technology. I then posed the following questions:

Questions.png

I wanted to highlight how some of the best examples of effective eLearning from teachers at St Andrew’s College was firmly rooted in Key Competencies. I chose examples from the following four teachers:

Teachers

Combining OneNote & MineCraft To Create Pick-A-Path Stories:

This example is explained in more detail here and the basic Learning Outcomes are displayed below with the relevant Key Competencies included:

Learning outcomes from this unit:

  • to produce interactive pick-a-path adventure stories
    • KC: Using Languages, Symbols & Text
  • to work collaboratively online to produce an end product
    • KC: Relating To Others
  • to create stories to share online with a wider audience
    • KC: Participating & Contributing

As mentioned above, I wanted to use authentic student voice as much as possible so I included an abbreviated version of the following video so that the audience could hear students articulating their learning and the impact that technology had made:

An insightful quote from the student called Harry was:

The goal was not to just make something pretty in Minecraft, it was actually to improve the quality of your writing … after writing the story, the idea was to look back in Minecraft and see how you could improve the writing you had already completed.

SAMR DivingTo assist teachers at St Andrew’s College with integration of technology into their teaching and learning, we have adopted the SAMR taxonomy that you can see on the left.

This is a really useful way for teachers to conceptualise how technology might assist the learning outcomes for their students as well as provide them some aspirational goals for extended use of technology. Tom Adams, our eLearning Integrator, has recently written in detail about effective use of the SAMR model which is definitely worth reading if you are new to it. During the presentation, I introduced the audience to a relatively new product from Microsoft called Pulse. This enables the audience to provide real time feedback on a session as well as allowing the presenter to push out questions for quick polls. I asked the audience “What level of SAMR do you feel the Minecraft/OneNote example was operating at?” and below is their response:

Pulse SAMR

Using Microsoft Pulse for instant feedback from the audience

Inspiring Creative Writing Through Constructing Digital Worlds:

The next example I shared was again around creative writing, this time from the High School instead of a Year 6 class. The full reflection can be found here, however the high level overview of the task was as follows (with Key Competencies inserted):

Learning Tasks For This Unit:

  • Write a short story of ~600 words with a theme of “conflict”
    • KC: Using Languages, Symbols & Text
  • Students Must produce at least 4 “drafts”
    • KC: Thinking
  • Drafts must be shared with peers for feedback/feed-forward & act on appropriate advice
    • KC: Participating & Contributing

What was different about this activity is that students had to build their digital world before they started their writing and use it as a source of inspiration and planning, not just as a reflective tool for editing. Settings were constructed in Sketchup, Paint, Minecraft and the source engine of the game Counter-Strike. Here is a student Ralph talking about his world which I again shared with the conference audience:

Again, I find the language used by the student here informative, with some of his comments being:

  • I wanted readers to grasp that the bombs had come from the bank itself”
    • Clearly, the reader’s experience is at the forefront of his thinking when he is designing his digital world.
  • He blended his natural enjoyment of the game Counter Strike with his school work and learning – a win/win situation!
  • Ralph talks about adding a backstory to the real events of the London Bombings, demonstrating a wider awareness of global communities
  • “As I was designing the level I was constantly thinking of ways I could make the story more interesting.
    • This was not just technology for the sake of it – it was clearly shaping and informing his understanding of the creative writing task that was the key learning outcome here.
    • This was manifested through his drafting process where he removed a lot of the dialogue to improve the narrative flow and added more descriptive text such as the sound of the gunfire

This impressive learning came on the back of an earlier, easier task where the students in the class had leveraged an existing digital world (Google Earth) rather than having to create their own. Through the lens of the SAMR scale this makes perfect sense – the students build their knowledge and experience of digital toolsets in the lower levels of SAMR and once mastered they can progress to more difficult tasks. Here is a write up of the earlier task where students had to explain the significance of setting in a film, and this is a student talking about their comprehension.

Again, it’s important to pick up on the student’s language – the technology is integrally linked to the learning outcomes, it is not merely there for entertainment or distraction. By requiring students to record their personal reflections in this way, students are using a number of Key Competencies.

Communicate Musical Intention By Composing An Original Piece of Music Inspired By Art:

The final example I shared with the audience came from Level 3 Year 13 Music. On the first day of the conference I had been asked to be part of a Q&A Panel about integrating technology into schools and one question from the audience was essentially around what are real world examples of great technology usage in NCEA subjects. The heart of the question was around the challenge of adapting existing assessments to be technology rich and I answered it by a brief description of this example from Mr Duncan Ferguson our Head of Music.

  • Using AS.91419 (3.4)
    • KC: Using Languages, Symbols & Texts
  • Students are required to reflect on their composition and explain the connection with the art that inspired them
    • KC: Thinking
  • These are largely independent projects that the students need to work on themselves
    • KC: Managing Self

Here is the video of the student reflecting on their learning:

Flipping The Maths Classroom:

I wanted to allow some Q&A at the end of my session so I ran out of time to share this example from Mr Ben Hilliam, so I’ll briefly reference it here. In this example, the key learning outcomes included:

  • Year 9 Maths: solving Linear Equations
    • KC: Using Language, Symbols & Text
  • Students were required to watch the instructional videos and then attempt the practice questions
    • KC: Thinking
  • Students needed to regularly complete check lists indicating their progress
    • KC: Managing Self

Here is an example video made by Mr Hilliam:

What I most liked about this example is that students were not left on their own to just work through it, the teacher is still involved through the process, despite the availability of the instructional videos. The following screenshot is from a OneNote Class Notebook showing how the student has completed their progress reports and the teacher has provided feedback:

Work eg2

I used MS Pulse to ask the audience whether they personally felt that using a “flipped classroom” genuinely created more opportunities for differentiated and personalised learning during class time. Their response was overwhelmingly “yes!”

Flipping The Classroom

An alternative way to show poll results from MS Pulse

I concluded my session with the following thoughts:

Concluding Thoughts

I really enjoyed the opportunity to present at the NZ Tech Advance Education Technology Summit and was fortunate enough to receive some positive feedback from the session:

Duncan Ferguson – Apple Distinguished Educator 2016

DFE

Mr Duncan Ferguson

Congratulations to St Andrew’s College’s Head of Music Mr Duncan Ferguson who has been selected as an Apple Distinguished Educator for 2016.

Mr Ferguson is one of five New Zealanders to be selected to attend the Apple Distinguished Educators conference in Berlin, Germany.

Attending an ADE Institute provides powerful opportunities for collaboration and ongoing professional growth for ADE alumni members. This 4-day intensive professional learning experience, will bring 400 ADEs together to collaborate, share, and learn. By collaborating directly with peers from across the world, ADEs will return home with a shared sense of purpose as they develop content and promote powerful ideas for improving teaching and learning worldwide.

To see the iBook about Collaborative Composition that Mr Ferguson wrote as a result of the 2015 ADE Institute in Singapore please visit:

https://itunes.apple.com/nz/book/collaborative-composition/id1052956067?mt=13

Congratulations and have a great trip to Berlin!

Guest Post: The Ideal Setup For A School Recording Studio

band-recording-in-one-room.png

This is a Guest Post from our Head of the Music Department Mr Duncan Ferguson who is also an Apple Distinguished Educator for 2015. He has posted here before about the integration of technology and music as well as project based learning approaches in Music. You can read the original post here.

Last year I was lucky enough to be granted the Head of Independent Schools Scholarship Trust award. This enabled me to travel to San Francisco and NYC to study how Music Technology is successfully being incorporated into high schools.

As a result of this study I have produced a document called The Music Educators Technology Survival Guide. This is a free download and takes you through recommended equipment required to setup up a music technology programme in your high school. It also provides an overview of the requirements for the NZQA Unit Standards, which you may use to assess your students’ music technology skills.

However, it’s one thing to have all the gear for teaching music technology but I’ve found the physical makeup of your studio/recording/mixing spaces, are critical to student success.

Of course, the quality of the acoustics in your recording space(s) is one of the most important factors but unless you’re involved in a new build of your department there may not be a huge amount you can do (whatever you do, don’t put egg cartons on your walls, they will only make things worse!).

But if you are lucky enough to plan a new setup this is what I recommend you aim for when you’re trying to record a rock band.

Recording Room Setup

Band recording in one room

Some important things to note:

  • All the musicians (apart from the singer) are recording in the same room at the same time but the only instrument that is actually mic’ed up in the recording room is the drum kit.
  • The guitar signal is recorded via a DI box, which is then outputted to an amplifier in a separate ‘amp’ room (using a specialized reamp device). The guitar amp is mic’ed up with one or two mics and those signals are then returned to the recording system. The guitar amp signal is then fed back to the musicians via headphones.
    Guitar Signal Flow
  • The bass player is recorded via a DI box with the signal returned to the musicians headphones. The bass track usually sounds great if you have a good quality DI (like a Radial JDI) but if you need to reamp it later and/or overdub this is also an option.
  • The singer is recorded in the mixing (or other) room with their signal coming back to the musicians’ headphones. If the quality of the singer’s track is not good enough they can be overdubbed later.

Why does this setup work so well?

Generally high schools students are not going to be good enough to record to a click track and retain a good feel, and they’re also not great at overdubbing instruments one by one. So this setup allows them to play all together as they would in a normal rehearsal room, hopefully creating a great groove.

But with our multi-room setup (i.e. having an amp room) we are able to record each instrument on to isolated tracks in our DAW so if one musician makes a minor mistake you don’t have to stop the take as you would if you had the amps in the same rooms as the drum microphones. Any minor mistakes can be cut out and re-recorded (or inserted from another take) just by the musician that made the mistake, without forcing the whole band to do another take.

Having all instruments on isolated tracks (without any ‘bleed’ from the other instruments in their tracks) allows us to fix timing and pitch issues with software like Celemony Melodyne.

On a recent session the bass player had huge trouble locking in with the drums. If the band had recorded to a click track it would be easy to ‘quantize’ the bass audio to the grid but as I said before, most high school bands aren’t good enough to be able to record to click well.

But using the new version of Melodyne 4 you are easily able to generate a ‘tempo map’ of the performance (most likely using the drum kit as your timing reference) which you can then quantize the bass to, making the two musicians perfectly in time with each other (even though they didn’t record to a click). I’ll do a full review of this software and walk through this process in a future blog.

If you want hands on, practical help with understanding how to create a recording setup like this I’m running workshops for teachers – Learning Ideas Teacher Training.

Guest Post: Collaborative Composition In Music

This guest post today comes from Mr Duncan Ferguson, Head of Department of Music here at St Andrew’s College. Previous posts have featured his work integrating technology in his practice that you can read here and here. Today’s post looks at his Project Based Learning (PBL) with his Year 10 Music Options class. You can read the original blog post here.

Over the last five weeks I’ve been trying a new way of running collaborative composition in my year 10 Option Music class.

This year I’ve been blessed to have a large class of highly motivated and talented students, so they were the perfect class to take a risk and jump into what is for me a new way of teaching composition.

The basic summary of what we did is that I divided the class into five groups.  In the first week each group had to start writing and recording a song (in a rough demo format).  In the 2nd week the groups swapped songs and continued on with what another group had started the previous week.  We did this for five weeks so that in the end, every group had been involved in the composition process on each of the five songs.

Initially the students were very nervous about this process as I’d done very little in terms of how to actually write songs.  However, that didn’t worry me as within each group of five members I knew that there were people with various strengths that when combined would make the process go smoothly.

Prior to this we had done a little work on what makes a good chord progression (mainly analysing four chord songs) and an effective melody but within the context of their own personal compositions, which they recorded/sequenced in either Garageband or Studio One Free.  It wasn’t much, but it proved to be enough to get the students on the way with the process.  What was critical to the process though (which I didn’t realise until we got a few weeks into the process) was that a strong knowledge of how to use technology and specifically MIDI keyboards/guitars with software sequencers made all the difference to the success of students being able to pass on their work to the next group (only a few students in the class had strong notation/theory skills so technology bridged the gap very effectively).

Here is a little video where I show one of the songs and how each group contributed towards it week by week:

And here some of the songs created by the students (please keep in mind that these are only supposed to be at ‘demo’ quality… we still intend to record them properly at a later date):

This whole process has been an incredibly empowering experience for the students and is a great demonstration of the high end of the SAMR model:

SAMR Diving

Software like Garageband and Studio One has enabled students to achieved a huge amount in a very short time and made it possible for this separate group collaborative thing to happen.  Students that recorded audio onto iPhones or wrote down music with traditional notation were no where near as effective in the sharing of their music with others.  By far the best way for this process to succeed was for students to compose using MIDI for the instruments and microphones/audio for the vocals… all along with a click so the music could be easily edited and rearranged by different groups.

Here are a couple of short videos watching students in action as they were creating their songs:

For other teachers who are wanting to run this sort of unit I’ve found that the following will make the process go very well:

  • Ensure that each group has at least one person who plays the following instruments: piano, guitar, drums, voice.  Often drummers don’t have a huge amount to do in the first week or two but as the weeks went by I discovered they were increasingly taking charge of the projects… running the technology (i.e. the computer DAW/sequencer)… which was critical when it came to restructuring ideas previous groups had come up with into coherent song structure of intros, verses, choruses, etc
  • Try and have a computer with a MIDI keyboard and a microphone setup in each room.  If you are using student laptops instead make sure you have a dedicated USB drive that holds the files that they work off… minimise copying of files between computers.  We ended up a losing a complete work from one room that students were working in as they mistakingly copied the wrong files then deleted the proper one.  The most successful songs were those that came out of rooms that had dedicated computers that students used each week.
  • Use the note pad facilities of your DAW (like Garageband or Logic) for writing down chord progressions, lyrics, ideas, etc  Don’t have things on scraps of paper as they may get lost.  Keeping everything with the DAW file is an elegant solution for keeping everything in the same place.
  • Don’t record piano/guitar ideas as audio… try to record them as MIDI.  This will enable successive groups to edit what was recorded.  If it’s audio, they’re stuck with it and are unable to improve upon it.

For me this process has been such an eye opener.  The students surprised themselves with what they could come up with.  The loved the process (they always arrived early from lunch so they could start as quickly as they could) and they grew so much as the weeks went by.

I will be making sure that this way of composing will be incorporated to NCEA composition at our school.  It will grow the numbers of students taking music and will help to break down the perception that you must be an orchestral musician who has been learning since you’re seven years old to be able to succeed in NCEA (even after five years at my school I’m still trying to destroy this myth!).

But overall… it was a heck of a lot of fun.  And that is what teaching and learning should be… shouldn’t it?

Mixcraft – Reinforcing Traditional Musical Elements By Visual Representations

Mixcraft Timeline

Mixcraft Timeline

The first post of this blog was about using ICT in the teaching and assessment of music. I’m going to revisit that topic again, but this time from a junior music perspective, instead of a senior NCEA subject.

St Andrew’s College uses Acoustica’s Mixcraft software to assist students in the basics of musical composition and theory in the Core Music junior classes. As Mr Duncan Ferguson points out:

At the junior level, Core Music is about exposing students to different styles of music, giving them the enjoyment factor from where they can develop a passion for music and hopefully start to learn an instrument from there.

Opportunities in these classes are provided for students to perform in a “classroom orchestra”, learn theory, and of course compose and share their own masterpieces. The use of computers allows these students to visually analyse their compositions and to quickly create good music relatively easily.

This ease inspires greater engagement from the students, particularly when they can use the technology like Mixcraft to help with things like:

  • Composing to Grid – meaning even if students lacked the skill to hear that their music is out of time, Mixcraft will keep it in time.
  • Changing the key of individual musical loops, to allow the student’s composition to remain in key

Of course, Mr Ferguson’s own direction is important here – he requires students to avoid mixing genres too much: just because you can use reggae drum loops with a blues guitar riff doesn’t mean you should! Here is an example composition from a Yr9 2013 student:

[audio https://dl.dropboxusercontent.com/u/58349924/Blog%20Data/Year%209%20Mixcraft%20composition%20focusing%20on%20element%20of%20structure_Joo%20Young%20Kim.mp3 ]

And this is how it is visually represented in Mixcraft:

Mixcraft Timeline

Mixcraft Timeline

Sharing of the compositions is also encouraged, sometimes by way of Moodle Forums, so others can listen and comment on their classmates’ music.

Here is another example of music composition on iPads from a school in the UK:

Technology and Music – Let’s start at the very beginning

Video

As the first blog post that provides a look into how technology is being used in a classroom at St Andrew’s College, it seems appropriate to start with a department that has been utilising the power of computers in teaching and learning for a long time. This is, of course, the Music Department.

Sitting down and talking with Head of Department Mr Duncan Ferguson it is apparent that technology permeates all aspects of music composition these days. He notes:

Mixcraft (composition software) reinforces traditional teaching of the elements of music by giving students a visual representation of abstract ideas such as ‘texture’ and they can literally see the structure of a piece of music by looking at the timeline in the software.

This works particularly well for junior students who have perhaps not been previously exposed to musical theory. With more advanced senior students, the technology enables them to create quite outstanding work. An example of this is a requirement for a Level 3 (Yr13) Standard, simply called Making Music (3.4).

This standard requires students to take inspiration from an area of the Visual Arts and compose an accompanying musical piece. An example of student work comes from Harry Guy who focused on this task:

  • Compose an original piece of music inspired by a visual art work, which could be a painting, drawing, sculpture, photograph, or graphic art.

Check out Harry’s video talking through the connection between Michelangelo’s Last Judgement and his own composition:

Unsurprisingly, Harry’s interest and skills in composition started a number of years ago, Continue reading