Friday, September 11, 2009

Innovative uses of Notation Software?

Reading the articles about notation software, some of the ideas are pretty good, but considering the innovation they claimed, I was somehow expecting something a bit more obscure or arcane. Most of the authors' suggestions are things that are pretty obvious or even widely implemented nowadays(some of the articles are several years old and technology moves fast).

The ideas that appeal most to me are composition, ear training, and theory. Being able to hear assignments and compositions on demand when a pianist or instrumentalist isn't available is a huge boon that allows composition to be more accessible and less intimidating. For theory and ear training, it is just convenient, as not everyone will be able to play even a chorale or voice leading assignment on piano. Same idea with ear training.

From the actual implementations I have seen in the past, I remain unconvinced about creating electronic accompaniments, especially to more complex music. While computer sampling has improved, machines still sound very much like machines. It's hard to work on blend, musical nuances, and the like. Even if you add dynamics in notation software, they are unsubtle and often border on ugly. Dynamic shading and timbres are nonexistent. I don't think the advantages of this outweigh the advantages of simply recording an accompaniment played by a professional player and using that. The mechanical rhythmic exactness and ability to scroll through the score on demand are gone, but the student gets to play along with a musical performance, which encourages musicality. Having students play along with monotone mechanical performances encourages monotone mechanical playing.

Students are always listening and learning, and as a teacher, I would prefer that they listen and learn from recordings and samples that feature nuanced and musical performances.

3 comments:

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  2. For learning about voice leading, etc. Sibelius or a similar piece of software is invaluable. It is impossible to duplicate what a human performer can do. We have brains, intuition, emotions, ideas that can't possibly be duplicated by any machine.

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  3. I think it's easy to take some of the simple suggestions presented by the authors of these articles for granted since we're so accustomed to using technological resources. Some practicing music educators may think these "innovations" are unattainable due to their lack of experience with the technologies. The trick is to expose teachers to the ideas so they know what's out there, making sure to stress that anyone can learn how to do these things with time and assistance. (It's also important to convey that taking the time to learn the software may save valuable teaching/prep time down the road.)

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