Research
Report
MUE692
Solving
the
Achievement
Crisis
with
Guided
Practice
and
SmartMusic
A
Research
Report
Submitted
to
the
Music
Education
Department
in
Partial
Completion
of
the
Master
of
Music
Education,
Research
Report
Option
By,
Alan
Reno
October
21,
2011
Solving
the
Achievement
Crisis
with
Guided
Practice
and
SmartMusic
By,
Alan
Reno
A
Research
Report
Submitted
in
Partial
Completion
of
Requirements
for
the
degree
Master
of
Music
Education,
Research
Report
Option
Date
of
Submission
This
Research
Report
Accepted
on
Behalf
of
the
Music
Education
Department,
School
of
Music,
College
of
Visual
and
Performing
Arts,
West
Chester
University,
West
Chester,
Pennsylvania
Advisor_________________________________________________________________
Date_____________________________________________________________________
2
Table
of
Contents
List
of
Tables...........................................................................................................................................................................................................4
List
of
Figures .........................................................................................................................................................................................................4
Chapter
1 ..................................................................................................................................................................................................................5
General
Statement ................................................................................................................................................................................................5
Specific
Problems..................................................................................................................................................................................................5
Definitions................................................................................................................................................................................................................6
Delimitations ..........................................................................................................................................................................................................7
Basic
Assumptions ...............................................................................................................................................................................................8
Need
for
Study........................................................................................................................................................................................................8
Chapter
2 ...............................................................................................................................................................................................................10
Review
of
Related
Literature........................................................................................................................................................................10
Measuring
Student
Achievement................................................................................................................................................................10
Student
Underachievement...........................................................................................................................................................................12
Student
Accountability ....................................................................................................................................................................................13
SmartMusic...........................................................................................................................................................................................................14
Guided
Practice...................................................................................................................................................................................................17
Chapter
3 ...............................................................................................................................................................................................................18
Methodology ........................................................................................................................................................................................................18
Middle
School
Band
Director
Questionnaire
1......................................................................................................................................19
Content
Standard
2
and
Achievement
Standards
2a‐2e ...................................................................................................................20
Reflective
Analysis
of
Director
Responses
Pertaining
to
Achievement
Standards
2a‐2e ..................................................22
Content
Standard
5
and
Achievement
Standards
5a‐5e ...................................................................................................................23
Reflective
Analysis
of
Director
Responses
Pertaining
to
Achievement
Standards
5a‐5e ..................................................25
Content
Standard
6
and
Achievement
Standards
6a‐6c ...................................................................................................................27
Reflective
Analysis
of
Director
Responses
Pertaining
to
Achievement
Standards
6a‐6c ..................................................28
Middle
School
Band
Questionnaire
2 ........................................................................................................................................................29
Reflective
Analysis
of
Director
Responses
Pertaining
to
Practice................................................................................................30
8th
Grade
Band
Practice
Questionnaire ....................................................................................................................................................31
Reflective
Analysis
of
8th
Grade
Student
Response
Pertaining
to
Practice
Habits ................................................................33
8th
Grade
Pre‐Guide
Assessment
–
The
Sky’s
the
Limit
by
Rob
Grice .........................................................................................35
Reflective
Analysis
of
Pre‐Guide
Assessments .....................................................................................................................................37
Inclusion
of
Practice
Guide ............................................................................................................................................................................37
8th
Grade
Post‐Guide
Assessment
of
The
Sky’s
the
Limit
by
Rob
Grice .......................................................................................39
Reflective
Analysis
of
the
Post–Guide
Assessment .............................................................................................................................41
Final
8th
Grade
Student
Questionnaire .....................................................................................................................................................42
Reflective
Analysis
of
the
Final
Questionnaire .....................................................................................................................................44
Chapter
4 ...............................................................................................................................................................................................................45
Implications
for
Music
Education...............................................................................................................................................................45
Additional
Methods
and
Concepts..............................................................................................................................................................46
Suggestions
for
Further
Study .....................................................................................................................................................................47
Bibliography.........................................................................................................................................................................................................48
Appendix................................................................................................................................................................................................................51
Research
Questionnaire
1
–
Achievement
Standards ........................................................................................................................51
Research
Questionnaire
2
–
Practice
.......................................................................................................................................................56
Research
Questionnaire
–
Student
Practice
Habits ............................................................................................................................57
Practice
Guide .....................................................................................................................................................................................................58
Final
Questonnaire............................................................................................................................................................................................59
Practice
Report ...................................................................................................................................................................................................60
3
List
of
Tables
TABLE
1
‐
SPRINGTON
LAKE
MIDDLE
SCHOOL
GRADING
SCALE .......................................................................................................................35
TABLE
2
‐
SSOALS
METHOD ................................................................................................................................................................................38
TABLE
3
‐
SSS
METHOD .........................................................................................................................................................................................39
TABLE
4
‐
RATING
SCALE
FOR
FIG.
34..................................................................................................................................................................43
TABLE
5
‐
RATING
SCALE
FOR
FIG.
34..................................................................................................................................................................44
List
of
Figures
FIGURE
1
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
2A ...............................................................................................................20
FIGURE
2
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
2B ...............................................................................................................21
FIGURE
3
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
2C ...............................................................................................................21
FIGURE
4
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
2D ...............................................................................................................21
FIGURE
5
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
2E ...............................................................................................................22
FIGURE
6
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
5A ...............................................................................................................24
FIGURE
7
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
5B ...............................................................................................................24
FIGURE
8
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
5C ...............................................................................................................24
FIGURE
9
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
5D ...............................................................................................................25
FIGURE
10
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
5E .............................................................................................................25
FIGURE
11
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
6A.............................................................................................................27
FIGURE
12
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
6B.............................................................................................................28
FIGURE
13
‐
QUESTIONNAIRE
RESULT
ACHIEVEMENT
STANDARD
6C .............................................................................................................28
FIGURE
14
–
DIRECTOR
QUESTIONNAIRE
2
RESULT
1 ......................................................................................................................................29
FIGURE
15
–
DIRECTOR
QUESTIONNAIRE
2
RESULT
2 .....................................................................................................................................29
FIGURE
16
‐
DIRECTOR
QUESTIONNAIRE
2
RESULT
3 ......................................................................................................................................30
FIGURE
17
–
DIRECTOR
QUESTIONNAIRE
2
RESULT
4 .....................................................................................................................................30
FIGURE
18
–
DIRECTOR
QUESTIONNAIRE
2
RESULT
5 .....................................................................................................................................30
FIGURE
19
–STUDENT
PRACTICE
QUESTIONNAIRE
RESULT
1..........................................................................................................................32
FIGURE
20
‐
–STUDENT
PRACTICE
QUESTIONNAIRE
RESULT
2 .......................................................................................................................32
FIGURE
21
–STUDENT
PRACTICE
QUESTIONNAIRE
RESULT
3..........................................................................................................................32
FIGURE
22
–STUDENT
PRACTICE
QUESTIONNAIRE
RESULT
4..........................................................................................................................33
FIGURE
23
–STUDENT
PRACTICE
QUESTIONNAIRE
RESULT
5..........................................................................................................................33
FIGURE
24
–
TOTAL
PRE‐GUIDE
RESULTS ..........................................................................................................................................................36
FIGURE
25
–
PRE‐GUIDE
RESULTS
SMARTMUSIC
VS.
NON‐SMARTMUSIC .....................................................................................................36
FIGURE
26
–
TOTAL
POST‐GUIDE .........................................................................................................................................................................40
FIGURE
27
–
POST
GUIDE
RESULTS
WITH
SMARTMUSIC
VS.
NON‐SMARTMUSIC .........................................................................................40
FIGURE
28
–
PRE‐GUIDE
VS.
POST‐GUIDE...........................................................................................................................................................41
FIGURE
29
–
PRE‐GUIDE
VS.
POST‐GUIDE
AND
SMARTMUSIC
VS.
NON‐SMARTMUSIC ................................................................................41
FIGURE
30
–
FINAL
STUDENT
QUESTIONNAIRE
RESULT
1................................................................................................................................42
FIGURE
31
‐
FINAL
STUDENT
QUESTIONNAIRE
RESULT
2.................................................................................................................................42
FIGURE
32
‐
FINAL
STUDENT
QUESTIONNAIRE
RESULT
3.................................................................................................................................43
FIGURE
33
‐
FINAL
STUDENT
QUESTIONNAIRE
RESULT
4.................................................................................................................................43
FIGURE
34
‐
FINAL
STUDENT
QUESTIONNAIRE
RESULT
5.................................................................................................................................44
4
Chapter
1
General
Statement
This
research
study
suggests
that
guided
practice
and
the
use
of
SmartMusic
software
will
result
in
proficient
to
advanced
levels
of
achievement,
with
8th
grade
band
students,
using
the
National
Standards
for
Music
Education
Performance
Achievement
Standards
as
a
measurement.
In
this
study,
there
will
be
analysis
of
the
performance
achievement
of
8th
grade
bands
from
surrounding
middle
schools.
There
will
also
be
analysis
of
8th
grade
student
practice
habits.
Finally,
there
will
be
analysis
of
pre‐guide
and
post‐guide
assessments
of
the
same
8th
grade
students.
The
reflective
analysis
will
reveal
a
significant
increase
in
post
model
assessment
scores.
Additional
data
will
highlight
a
significant
increase
in
scores
from
students
who
use
SmartMusic.
Specific
Problems
With
the
intent
to
improve
music
teaching
and
learning,
this
study
aims
to
answer
the
following
questions:
•
How
is
student
achievement
measured?
•
What
causes
underachievement?
•
What
are
the
students
held
accountable
for?
What
are
their
individual
contributions
to
the
ensemble?
•
Why
SmartMusic?
•
What
is
the
importance
of
guided
practice?
5
Definitions
•
Student
accountability
refers
to
the
musical
contribution
of
individual
student
to
the
overall
ensemble
•
National
Standards
for
Music
Education
Performance
Achievement
Standards
(NSMEPAS)
•
Aural
Imagery
refers
to
the
sound
image
that
is
developed
when
a
student
hears
a
model
example
(i.e.
recording
of
professional
wind
symphony
playing
concert
literature).
By
developing
aural
imagery,
the
students
gain
a
sound
image
that
they
can
compare
to
their
own
performance.
•
SmartMusic
is
performance
training
software
developed
by
MakeMusic,
Inc.
•
Practice
guide
refers
to
a
document
that
the
students
will
follow
when
they
work
on
book
exercises/musical
excerpts
outside
of
school.
•
Practice
report
refers
to
an
online
report
the
students
will
complete
as
a
method
of
reflection
•
8th
grade
students
are
between
the
ages
of
12
and
14
•
Reflective
Music
Practitioners
refers
to
the
modernized
method
of
assessment
through
SmartMusic
•
Performance
refers
to
the
students’
ability
to
play
notes
and
rhythms
correctly
at
the
indicated
tempo
6
Delimitations
This
research
is
focused
on
the
following
areas
of
concern:
•
Data
will
be
collected
from
fifty‐seven
8th
grade
students,
but
data
from
thirty
students
will
be
randomly
selected.
•
Assessments
are
limited
to
8th
grade
students
in
the
1st
marking
period
of
the
school
year.
•
Due
to
limited
time
for
this
study,
achievement
standards
2a,
2b,
2c,
2d,
and
2e
will
be
targeted.
•
Because
this
study
takes
place
at
the
start
of
a
school
year,
the
data
doesn’t
accurately
reflect
performance
achievement
when
the
students
are
ready
to
graduate
to
the
next
level.
•
Because
the
study
takes
place
at
the
start
of
a
school
year,
data
collected
from
twelve
nearby
middle
school
band
directors
only
generalizes
the
classification,
in
accordance
with
the
National
Standards
for
Music
Education
Performance
Achievement
Standards,
of
the
majority
of
their
recent
graduating
8th
grade
students.
•
The
Sky’s
the
Limit
by
Rob
Grice,
grade
3
level
concert
band
literature
as
labeled
by
the
American
Band
Association,
will
be
used
as
the
material
for
data
collection
7
Basic
Assumptions
It
is
common
practice
to
construct
school
curriculum
in
direct
accordance
with
the
National
Standards.
In
all
curricula,
goals
are
set
to
achieve
the
national
standards.
Benchmarks
are
used
to
measure
student
achievement.
The
band
curriculum
is
designed
in
accordance
to
the
National
Standards
for
Music
Education.
It
is
noteworthy
in
research
to
highlight
the
variables
that
could
potentially
misconstrue
the
data.
Educational
factors
such
as
learning
disabilities,
inclusion,
IEP’s
and
504
agreements
could
negatively
impact
instrumental
performance.
On
the
opposite
side
of
the
spectrum,
there
are
gifted
students
that
don’t
require
as
much
practice
as
other
students.
In
the
real
world
of
education,
it
is
close
to
impossible
to
have
100%
student
dedication
to
practicing
and
completing
assignments
on
time.
Need
for
Study
I
am
currently
in
my
tenth
year
as
band
director
at
Springton
Lake
Middle
School.
I
have
experienced
much
success
during
my
tenure.
Most
of
that
reward
is
measured
from
the
outcomes
of
festival
ratings.
However,
success
from
festival
ratings
is
deceiving
because
there
are
a
number
of
individuals
who
can
hide
in
the
ensemble.
This
was
exposed
during
a
recent
department
meeting
for
curriculum
revision.
It
was
determined
that
graduating
eighth
grade
students
fell
short
of
the
8
National
Standards
for
Music
Education
Performance
Achievement
Standards
(NSMEPAS).
It
is
my
mission
to
put
more
emphasis
on
student
practice
habits
and
student
accountability
so
that
they
contribute
to
the
ensemble.
Part
of
that
challenge
is
to
motivate
them
to
practice.
Two
years
ago,
I
was
exposed
to
SmartMusic
software
that
students
can
use
to
practice
with.
I
had
heard
about
SmartMusic
from
some
of
my
motivated
clarinet
students,
who
shared
the
same
private
instructor,
and
they
were
persistent
in
sharing
it
with
the
students
in
the
group
lesson.
I
should
also
note
the
pair
of
clarinet
students
were
the
strongest
musicians
in
the
band
at
the
time,
and
I
sought
to
find
out
why.
Instead
of
letting
them
share
it
with
the
group,
I
used
my
supervisory
option
to
experiment
with
the
software.
In
my
option
project,
I
randomly
selected
a
focus
group
of
8th
grade
students
to
use
the
software.
After
comparing
their
grades
to
the
others
who
weren’t
using
the
software,
I
noticed
a
significant
difference
in
both
their
grades,
which
were
scored
by
SmartMusic,
and
in
their
recordings.
The
students
who
used
the
software
had
more
confidence,
better
continuity,
and
higher
scores
than
the
others
who
weren’t
using
the
software.
SmartMusic
is
the
motivating
factor
in
the
research
study.
By
combining
SmartMusic
with
guided
practice,
students
can
accomplish
proficient
to
advanced
levels
of
response
according
to
the
NSMEPAS.
Students
are
required,
through
the
use
of
SmartMusic,
to
submit
recordings
of
their
performances
for
accountability.
In
order
for
the
student
to
perform
the
required
9
literature,
they
must
play
the
correct
notes
and
rhythms
with
good
accuracy
in
relation
to
pitch
and
tempo.
This
demands
critical
thinking
from
the
student.
.
Chapter
2
Review
of
Related
Literature
This
chapter
will
offer
the
findings
from
related
research
studies,
journals,
articles,
and
online
publications.
Topics
of
this
research
include
measuring
student
achievement
through
the
National
Achievement
Standards
for
Music
Education,
student
accountability,
the
use
of
SmartMusic
at
school
and
at
home,
and
the
effects
of
guided
practice
in
achieving
goals.
Measuring
Student
Achievement
Instrumental
music
curriculum
is
performance
based.
Student
achievement
can
be
deciphered
through
determining
whether
or
not
the
student(s)
are
able
to
perform
music.
This
simple
notion
is
utilized
in
other
methods
of
measuring
student
accomplishment.
These
methods
include
performance
assessments,
auditions,
festivals
and
the
National
Standards
for
Music
Education.
Performance
assessments,
or
playing
tests,
are
the
most
common
measurement.
Teacher
assessments
are
simple
methods
of
evaluating
the
learning
of
their
students.
Alternative
methods
of
assessments
include
peer/family
assessments
and
self‐assessments.
Another
method,
although
not
as
common,
is
to
use
standardized
testing.
These
are
methods
in
which
student
performance
is
10
compared
to
criteria.
The
commonality
is
the
issuing
of
a
grade
as
a
determinant
as
to
whether
or
not
student
learning
is
evident.
Students,
and
their
teachers,
can
gauge
success
based
on
audition
results.
Audition
criteria
can
cover
a
wide
range
of
performance
skills.
Students
preparing
for
an
audition
develop
an
understanding
of
specific
criteria,
and
they
are
measured
at
a
certain
level
in
comparison
to
the
criteria.
Outcomes
of
an
audition
can
determine
placement
in
a
certain
ensemble
as
well
as
placement
within
an
ensemble.
Festival
ratings
are
great
indicators
of
ensemble
achievement.
Because
the
outcome
of
festival
ratings
is
the
primary
result
seen
by
the
public,
music
educators
prioritize
the
preparation
of
their
students
to
gain
acceptable
ratings
(Norris
2010).
It
is
believed
that
directors
lose
sight
of
the
individual
because
heavy
emphasis
is
placed
on
improving
the
ensemble
in
order
to
receive
high
ratings.
Incompetent
musicians
can
hide
in
the
ensemble.
Student
achievement
in
these
cases
is
inaccurate.
The
National
Standards
for
Music
Education
took
its
place
in
school
curricula
nationwide.
It
was
noted
by
Francie
Alexander,
then
deputy
assistant
secretary
for
policy
and
planning
at
the
U.S.
Dept
of
Education,
that
the
standards
affirm
the
importance
of
music
education
(Frederickson
2010).
The
document
format
of
the
National
Standards
for
Music
Education
is
divided
into
three
parts
K‐4,
5‐8
and
9‐12.
Student
achievement,
in
accordance
with
the
National
Standards,
is
measured
11
through
specific
performance
benchmarks.
Students
are
labeled
basic,
proficient
or
advanced
based
on
the
comparison
of
their
response
level
to
the
criteria.
Student
Underachievement
Resources
concerning
students’
inability
to
meet
NSMEPAS
are
very
limited.
Because
of
insufficient
resources,
we
must
draw
parallels
from
other
studies
correlating
student
deficiency
in
academics
with
national
standards.
There
are
various
factors
that
cause
students
to
fall
short
of
standards.
Common
factors,
specific
to
instrumental
music,
consist
of
lack
of
engagement,
lack
of
practice
and
lack
of
parental
guidance.
Two
school
districts
investigated
potential
causes
for
incompetency
in
standardized
testing.
Studies
uncover
cases
in
which
emotional,
physical
and
mental
disabilities
caused
students
to
fall
short
of
standardized
tests
(Battle
2002).
Other
studies
reveal
factors
consistent
across
multiple
case
studies.
Students
fail
to
meet
standards
due
to
economical
disadvantages
and
disabilities
(Mason,
Feldscher
2011).
In
all
cases,
students
became
distracted
in
class
lectures.
This
had
a
negative
impact
in
the
school
goals
of
reaching
the
required
level
of
proficiency
in
the
federal
No
Child
Left
Behind
(NLCB)
program.
Distractions
can
be
consistent
with
instrumental
music
classes.
This
causes
a
lack
of
engagement
between
teacher
and
student.
In
a
case
study
by
Steven
Oare,
(Oare
diss.
2007)
there
were
commonalities
in
studying
middle
school
band
student’s
practice
routines.
Oare
noted
that
his
subjects
tended
to
avoid
practice
because
music
was
either
too
challenging
or
not
12
challenging
enough.
Another
common
factor
was
the
desire
to
play
music
that
was
enjoyable.
There
was
also
little
to
no
routine
in
the
subject’s
practice
sessions.
Teachers
must
keep
open
lines
with
the
parents
in
order
for
supervision
to
take
place.
Rafael
Mendez
notes
to
parents
that
good
pupils
are
usually
traced
to
homes
with
good
influence.
Poor
pupils
are
traced
to
homes
with
lack
of
support
or
misguided
support
(Mendez
and
Gibney
1961).
The
teacher
must
guide
the
parents
to
guide
the
students
to
prevent
misguide.
Steven
Oare
suggests
parents
set
regular
practice
times.
Oare’s
conclusion
determined
that
middle
school
students
aren’t
fully
capable
of
reminding
themselves
to
practice
(Oare
2011).
Lack
of
parental
guidance
and
support
leads
to
lack
of
quality
time
on
the
instrument.
Student
Accountability
Successful
directors
know
how
to
connect
with
their
students.
Assuming
that
a
director
fulfills
his/her
responsibility
of
instruction,
the
students
have
a
responsibility
of
putting
that
knowledge
to
use.
The
students
should
be
made
aware
of
how
they
contribute
to
the
ensemble.
Successful
programs
put
emphasis
on
student
accountability.
The
most
common
issue,
when
thinking
of
musical
contribution,
is
whether
or
not
a
student
knows
the
music.
Students
fulfill
these
responsibilities
by
practicing.
There
is
a
certain
amount
of
influence
from
the
teacher
that
causes
students
to
practice
because
they
know
they
are
held
accountable
for
improving
(Oare
2011).
13
When
introduced
to
musical
elements,
students
must
further
understanding
by
engaging
in
three
primary
behaviors.
These
are
performing,
analyzing
and
creating
(Norris
2010).
A
partnership
should
be
developed
with
the
conductor
(Graulty
2010).
Graulty
noted
that
learning
remains
longer
when
ensemble
members
are
involved
in
the
decision
making
process.
This
is
all
in
line
with
Elliot’s
view
on
the
reflective
music
practicum
and
the
student
developing
an
apprenticeship
with
the
conductor
(Elliot
1995).
SmartMusic
The
use
of
technology
helps
educators
meet
the
National
Standards
in
many
ways
(Rudolph
2006).
Matt
McVeigh
examined
modern
day
computer
assisted
teaching.
McVeigh
maintains
that
computers
and
the
Internet
have
become
the
21st
century’s
paper
and
pencil.
He
challenges
music
educators
to
become
qualified
in
what
he
coins
the
21st
Century
Skills
(McVeigh
2008).
In
1995,
MakeMusic
Inc.
(then
Coda
Music
Technologies)
created
an
accompaniment
module
called
Vivace.
It
has
since
evolved
into
SmartMusic.
It
is
music
practice
software
compatible
to
both
Windows
and
MAC
platforms
to
conform
to
the
modern
day
digital
technology.
The
software
is
developed
for
musicians
by
musicians.
The
goal
of
MakeMusic,
Inc.
is
to
make
practicing
fun
for
students,
and
to
make
teaching
easier
(Varela).
Use
of
SmartMusic
in
teaching
middle
school
band
invokes
a
variety
of
assessment
options,
enhances
the
concept
of
aural
imagery,
and
brings
into
light
the
modernized
teaching
techniques
in
line
with
the
21st
Century
Skills
(Grifa
2010,
McVeigh
2008).
14
SmartMusic
opens
the
door
to
many
methods
of
assessments.
For
starters,
the
software
is
capable
of
deciphering
correct/incorrect
pitches
(notes).
It
can
also
decipher
correct/incorrect
durations
(rhythm).
The
software
instantly
shows
this
feedback
by
showing
colored
coded
graphics
of
correctly
and/or
incorrectly
performed
material.
The
software
then
issues
a
percentage
to
give
the
user
a
measurement
of
achievement.
The
user
can
use
self‐assessment
strategies
by
instantly
listening
to
a
playback
of
his/her
performance
and
evaluating
it
using
a
supplementary
rubric
or
other
criteria.
Steven
Oare
concludes
that
self‐assessment
is
the
key
component
of
independent
learning
(Oare
2011).
This
same
approach
can
be
used
for
peer
assessments.
Band
director
Scott
Yoho
uses
SmartMusic
to
assess
scales
and
method
book
exercises
(Yoho
2011).
Because
of
the
play
along
feature,
the
traditional
ways
(i.e.
scale
tests,
playing
proficiencies)
of
assessment
are
enhanced
with
SmartMusic.
A
recent
Bandworld
publication
advertised
auditions
for
the
annual
Western
International
Band
Clinic
through
SmartMusic.
A
publication
by
John
Kuzmich,
a
certified
trainer
with
Ti:ME,
highlights
cases
where
choral
directors
found
SmartMusic
to
provide
fast
and
simple
seating
auditions
(Kuzmich
2010).
Recordings
of
musical
selections
are
readily
available
with
a
click
of
the
mouse.
Steven
Oare,
in
studying
practice
habits
of
young
students,
highlights
the
concept
of
aural
imagery
(Oare
diss.
2007).
In
Oare’s
study,
the
subjects
shared
a
commonality
resulting
from
developing
aural
imagery.
Each
subject
mentioned
the
need
to
hear
what
the
music
sounded
like
before
they
played
it.
He
recorded
the
subjects
playing
music
in
which
they
had
no
prior
knowledge.
These
recordings
15
were
compared
to
recordings,
from
the
same
subjects,
of
pieces
that
they
had
an
opportunity
to
hear
before
playing.
Oare
concluded
that
the
subjects
performed
better
when
they
developed
the
aural
image.
The
subjects
stated
that
they
are
more
inclined
to
practicing
when
they
know
what
the
music
is
supposed
to
sound
like.
The
subjects
used
the
notation
to
remind
themselves
of
the
sounds
in
their
head.
With
aural
imagery,
students
attempted
to
emulate
a
model
tone.
The
students
were
intrinsically
motivated.
Those
who
didn’t
develop
aural
imagery
were
unaware
of
their
errors
(Oare
diss.
2007).
A
study
involving
three
random
groups
of
music
students
at
Northwestern
University
revealed
a
strong
correlation
with
students
studying
to
discern
pitches
and
listening
to
related
music.
Results
of
this
group,
measured
by
performance
test
scores,
were
compared
to
other
groups
of
students
that
didn’t
listen
related
music.
The
group
that
developed
aural
imagery
scored
higher
than
the
other
group
(Olson
2011).
There
are
modernized
ways
of
instruction
through
SmartMusic.
Bob
Grifa
lists
strategies
involving
modeling
and
hands
free
coaching.
The
educator
can
use
the
traditional
tools
of
practice
like
a
tuner
and
metronome
for
individual,
group
and
ensemble
settings
(Grifa
2011).
The
educator
version
of
the
software
allows
the
teacher
to
set‐up
class
rosters
and
a
gradebook.
Direct
communication,
between
teacher
and
student)
can
take
place
through
SmartMusic.
The
teacher
can
provide
feedback
on
performance,
assign
specific
material
to
the
students,
and
submit
grades
for
quarterly
reports.
This
is
all
in
line
with
McVeigh’s
21st
Century
Skills
(McVeigh
2008).
16
Guided
Practice
Educators
must
be
creative
and
energized
to
instill
motivation
from
their
students.
Ultimately,
teachers
must
be
superior
models
(Alsobrook
and
Lautzenheiser
2002).
In
the
classroom,
directors
and
their
students
must
develop
a
partnership
(Graulty
2010,
Elliot
1995).
The
music
making
and
music
listening
that
takes
place
in
the
classroom
is
a
major
source
of
self‐growth,
self‐knowledge
and
self‐enjoyment
(Elliot
1995).
What
takes
place
in
the
classroom
must
be
continued
at
home,
without
the
presence
of
the
teacher.
Thus,
the
student
becomes
an
independent
learner.
The
students
need
to
learn
how
to
learn
(Elliot
1995).
Young
musicians
need
guidance
in
establishing
a
practice
routine,
additional
support
and
supervision
from
parents
and
technology
to
help
them
develop
aural
imagery
skills
for
self‐assessment.
A
key
goal
is
to
develop
literate
musicians
who
no
longer
need
their
directors
(Oare
2011).
In
studying
the
practice
habits
of
middle
school
band
students,
Steven
Oare
found
that
his
subjects
didn’t
follow
a
routine.
There
was
no
focus
on
improving
tone
quality,
and
none
of
the
subjects
set
goals
(Oare
diss.
2007).
Oare
suggests
creating
practice
models
to
distribute
to
students.
This
structure
is
the
key
component
in
practice
effectiveness.
Parental
supervision
is
another
key
component
in
continuing
musicianship
outside
of
the
classroom.
Rafael
Mendez
concludes
that
good
pupils
are
usually
traced
to
homes
with
good
influence
(Mendez
and
Gibney
1961).
Listed
in
his
book
are
parental
guides
for
parents
to
help
fix
performance
issues.
Parents
should
set
17
regular
practice
times.
This
supports
Oare’s
conclusion
that
middle
school
students
aren’t
fully
capable
of
reminding
themselves
to
practice
(Oare
2011).
Parents
must
assess
progress
in
order
to
achieve.
Fred
Kersten
supports
emphasis
on
using
technology
to
teach
music
(Kersten
2009).
Training
students
to
use
SmartMusic
is
necessary
so
that
the
software
becomes
an
extension
of
what
happens
in
school.
This
will
develop
aural
imagery
and
self‐assessment
skills
during
student
practice.
Aural
imagery
is
the
key
component
in
motivating
young
musicians
to
emulate
a
model
tone,
to
practice
challenging
passages
and
to
compare
their
performance
with
the
aural
image
that
they
developed
in
their
mind
(Oare
diss.
2007).
Chapter
3
Methodology
Qualitative
data
is
sought
for
this
research
report.
There
will
be
reflective
analysis
of
the
collected
data.
The
following
methods
will
be
used
to
conduct
data
collection:
1. There
will
be
2
questionnaires
to
collect
data
pertaining
to
practice
habits
and
routines.
One
questionnaire
will
be
presented
at
the
start
of
the
research
study.
The
other
questionnaire
will
be
presented
at
the
conclusion
of
the
research
study.
2. A
Pre‐guide
SmartMusic
assessment
of
level
3
music
will
be
given
in
order
to
collect
data
on
student
performances.
18
3. A
Post‐guide
SmartMusic
assessment
of
level
3
music
will
be
given
in
order
to
collect
data
on
student
performances.
4. SmartMusic
vs.
Non‐SmartMusic
users
will
be
highlighted
and
statistics
will
be
charted.
5. Additional
data
from
nearby
middle
school
band
directors
will
be
collected
through
a
questionnaire
to
draw
parallel
measurements
of
student
achievement.
Conclusions,
by
way
of
reflective
analysis,
will
be
made
from
the
collected
data
that
will
support
this
study.
Further
conclusions
and
comparisons
will
be
made
which
will
hint
at
further
study.
Middle
School
Band
Director
Questionnaire
1
A
questionnaire
was
sent
to
middle
school
band
directors
in
surrounding
school
districts.
The
questionnaire
targeted
the
National
Standards
for
Music
Education
Performance
Achievement
Standards.
Specific
achievement
standards
were
isolated
for
study.
Those
standards
were
2a‐2e,
5a‐5e
and
6a‐6c.
In
the
questionnaire,
the
band
directors
were
asked
to
classify
their
recent
graduating
8th
grade
band
students
in
accordance
with
the
NSMEPAS
response
levels
of
basic,
proficient
and
advanced.
Twelve
band
directors
responded
to
the
questionnaire.
Following
each
content
and
corresponding
achievement
standards
are
the
response
percentages.
We
begin
with
content
standard
2
and
the
corresponding
achievement
standards.
19
Content
Standard
2
and
Achievement
Standards
2a‐2e
Content
Standard:
2.
Performing
on
instruments,
alone
and
with
others,
a
varied
repertoire
of
music
Achievement
Standards
•
2a.
Students
perform
on
at
least
one
instrument
accurately
and
independently,
alone
and
in
small
and
large
ensembles,
with
good
posture,
good
playing
position,
and
good
breath,
bow,
or
stick
control
•
2b.
Students
perform
with
expression
and
technical
accuracy
on
at
least
one
string,
wind,
percussion,
or
classroom
instrument
a
repertoire
of
instrumental
literature
with
a
level
of
difficulty
of
2,
on
a
scale
of
1
to
6
•
2c.
Students
perform
music
representing
diverse
genres
and
cultures,
with
expression
appropriate
for
the
work
being
performed
•
2d.
Students
play
by
ear
simple
melodies
on
a
melodic
instrument
and
simple
accompaniments
on
a
harmonic
instrument
•
2e.
Students
who
participate
in
an
instrumental
ensemble
or
class
perform
with
expression
and
technical
accuracy
a
varied
repertoire
of
instrumental
literature
with
a
level
of
difficulty
of
3,
on
a
scale
of
1
to
6,
including
some
solos
performed
from
memory
Figure
1
­
Questionnaire
Result
Achievement
Standard
2a
20
Figure
2
­
Questionnaire
Result
Achievement
Standard
2b
Figure
3
­
Questionnaire
Result
Achievement
Standard
2c
Figure
4
­
Questionnaire
Result
Achievement
Standard
2d
21
Figure
5
­
Questionnaire
Result
Achievement
Standard
2e
Reflective
Analysis
of
Director
Responses
Pertaining
to
Achievement
Standards
2a‐2e
Figures
1
and
2
show
proficient
or
advanced
levels
of
response
by
8th
grade
students
as
classified
by
their
band
directors.
A
commonality
of
a
basic
level
of
response
has
occurred
in
figures
3,
4
and
5.
Achievement
standard
2c
lists
the
musical
concept
of
expression
as
the
focus.
Figure
3
showed
9%
of
the
band
directors
classifying
their
8th
graders
as
“basic”.
Using
a
practice
guide
or
model
along
with
SmartMusic
will
improve
this
so
that
students
are
proficient.
SmartMusic
provides
opportunities
for
students
to
develop
aural
imagery.
With
aural
imagery
comes
emulation.
In
this
case,
students
will
emulate
model
expression
and
compare
it
to
the
aural
image
in
their
minds.
Achievement
standard
2d
is
centered
on
playing
melodies
by
ear.
Figure
4
shows
40%
of
band
directors
classifying
their
8th
graders
as
“basic”.
Students
can
become
proficient
by
using
a
practice
guide/model
and
the
play
by
ear
feature
22
within
the
SmartMusic
software.
This
tool
helps
students
understand
scales
by
sound,
and
it
prompts
critical
thinking
in
making
melodic
connections.
Achievement
standard
2e
requires
students
to
be
proficient
in
performing
grade
3
music.
In
figure
5,
50%
of
the
band
directors
labeled
their
8th
graders
“basic”.
Use
of
SmartMusic
and
guided
practice
will
give
students
motivation,
aural
imagery,
and
routines
for
correcting
notes
and
rhythms.
Students
using
these
tools
will
become
proficient
performers
of
grade
3
music.
Content
Standard
5
and
Achievement
Standards
5a‐5e
Directors
were
asked
to
classify
their
students
according
to
content
standard
5
and
achievement
standards
5a
through
5e.
Figures
6,
7,
8,
9,
10
show
the
results
from
the
questionnaire.
Content
Standard:
5.
Reading
and
notating
music
Achievement
Standards
•
5a.
Students
read
whole,
half,
quarter,
eighth,
sixteenth,
and
dotted
notes
and
rests
in
2/4,
3/4,
4/4,
6/8,
3/8,
and
alla
breve
meter
signatures
•
5b.
Students
read
at
sight
simple
melodies
in
both
the
treble
and
bass
clefs
•
5c.
Students
identify
and
define
standard
notation
symbols
for
pitch,
rhythm,
dynamics,
tempo,
articulation,
and
expression
•
5d.
Students
use
standard
notation
to
record
their
musical
ideas
and
the
musical
ideas
of
others
•
5e.
Students
who
participate
in
a
choral
or
instrumental
ensemble
or
class
sightread,
accurately
and
expressively,
music
with
a
level
of
difficulty
of
2,
on
a
scale
of
1
to
6
23
Figure
6
­
Questionnaire
Result
Achievement
Standard
5a
Figure
7
­
Questionnaire
Result
Achievement
Standard
5b
Figure
8
­
Questionnaire
Result
Achievement
Standard
5c
24
Figure
9
­
Questionnaire
Result
Achievement
Standard
5d
Figure
10
­
Questionnaire
Result
Achievement
Standard
5e
Reflective
Analysis
of
Director
Responses
Pertaining
to
Achievement
Standards
5a‐5e
Figure
6
shows
30%
of
band
directors
classifying
their
8th
grade
as
“basic”
when
it
comes
to
reading
standard
rhythms
in
2/4,
3/4,
4/4,
6/8
and
3/8
meters.
SmartMusic
is
equipped
with
exercises,
method
books
and
literature
that
have
these
rhythm
and
meters.
By
developing
aural
imagery
and
using
a
practice
model,
students
will
become
proficient
in
this
area
of
musicianship.
Figure
7
shows
70%
of
8th
grade
students
classified
as
“basic”
in
achievement
standard
5b,
which
requires
students
to
sight
read
simple
melodies
in
25
both
treble
and
bass
clefs.
Teaching
both
clefs
to
specifically
ranged
instruments
is
uncommon,
but
it
can
be
done
effectively.
With
SmartMusic,
it
is
easy
to
toggle
between
instruments
of
different
ranges.
Figure
8
shows
a
high
percentage
of
students
classified
as
proficient
in
identifying
and
defining
standard
notation
and
symbols.
This
can
be
reinforced
with
SmartMusic
by
adding
the
recording
of
the
concepts
into
the
equation.
This
type
of
instruction
leads
to
better
understanding
and
ultimately
better
execution
of
the
concepts.
Figure
9
shows
a
rather
weak
response
from
to
directors.
They
classified
50%
basic
and
nobody
advanced.
A
conclusion
drawn
from
this
graphic
is
that
little
to
no
time
is
spent
on
dictation.
However,
some
directors
have
included
dictation
into
their
curriculum.
Creatively
used,
the
SmartMusic
Play
by
Ear
feature
can
aid
in
dictation.
There
needs
to
be
guidance
in
written
notation
in
conjunction
with
using
the
software
in
order
to
enhance
this
area
of
musicianship.
Figure
10
shows
a
30%
basic
classification.
Achievement
standard
5e
requires
students
to
sightread
grade
2
music.
The
key
factor
in
using
SmartMusic
and
guided
practice
to
help
aid
in
achieving
proficient
is
constant
reinforcement
at
school
and
home.
The
idea
is
for
the
student
to
use
home
practice
time
as
an
extension
of
the
class.
If
the
teacher
has
already
modeled
how
to
rehearse
grade
2
music
by
using
SmartMusic
in
school
instruction,
the
student
should
be
able
to
do
the
same
thing
at
home
to
reinforce
the
concepts.
This
allows
group
lessons
and
rehearsals
at
school
to
move
forward.
If
the
student
doesn’t
extend
the
class
to
the
26
home,
there
is
more
tendency
to
forget
concepts,
and
most
times
the
teacher
has
to
re‐teach
material
to
the
class
at
the
next
lesson
or
rehearsal.
This
causes
a
setback
in
the
learning
process.
Content
Standard
6
and
Achievement
Standards
6a‐6c
Content
Standard:
6.
Listening
to,
analyzing,
and
describing
music
Achievement
Standards
•
6a.
Students
describe
specific
music
events
in
a
given
aural
example,
using
appropriate
terminology
•
6b.
Students
analyze
the
uses
of
elements
of
music
in
aural
examples
representing
diverse
genres
and
cultures
•
6c.
Students
demonstrate
knowledge
of
the
basic
principles
of
meter,
rhythm,
tonality,
intervals,
chords,
and
harmonic
progressions
in
their
analyses
of
music
Figure
11
­
Questionnaire
Result
Achievement
Standard
6a
27
Figure
12
­
Questionnaire
Result
Achievement
Standard
6b
Figure
13
­
Questionnaire
Result
Achievement
Standard
6c
Reflective
Analysis
of
Director
Responses
Pertaining
to
Achievement
Standards
6a‐6c
Figure
11
shows
a
30%
classification
of
basic.
Achievement
standard
6a
requires
students
to
describe
musical
events
using
appropriate
terminology.
Aural
imagery
will
give
new
meaning
to
written
terms.
Defining
terms
with
this
type
of
concrete
material
will
only
enhance
the
understanding
and
vocabulary
of
young
musicians.
This
would
make
proficiency
very
achievable.
Figure
12
shows
a
70%
classification
of
basic.
Because
SmartMusic
has
playback
and
export
features
readily
available,
the
students
can
go
through
the
process
of
self
and
peer
assessments.
This
will
open
the
door
to
listening
and
evaluating
the
elements
of
music
in
diverse
genres,
as
listed
in
achievement
standard
6b.
Proficiency
can
be
achieved.
Figure
13
shows
a
60%
classification
of
basic.
In
this
case,
the
key
factor
in
using
SmartMusic
and
guided
practice
to
help
aid
in
achieving
proficient
is
constant
28
reinforcement
at
school
and
home.
Aural
imagery
through
SmartMusic
is
vital
in
reinforcing
recognition
of
the
basic
principles
of
meter,
rhythm,
tonality,
intervals,
chords
and
harmonic
progressions.
The
teacher
must
also
be
consistent
in
recognizing
and
highlighting
those
concepts
in
group
lessons
and
rehearsals
through
SmartMusic.
Middle
School
Band
Questionnaire
2
This
questionnaire
was
sent
to
the
same
band
directors
that
responded
to
questionnaire
1.
The
interest
here
is
to
learn
what
the
directors
require
of
their
students
in
terms
of
practice
reporting
and
practice
habits
with
additional
interest
pertaining
to
festival
ratings
as
a
measure
of
achievement.
Figure
14
–
Director
Questionnaire
2
Result
1
Figure
15
–
Director
Questionnaire
2
Result
2
29
Figure
16
­
Director
Questionnaire
2
Result
3
Figure
17
–
Director
Questionnaire
2
Result
4
Figure
18
–
Director
Questionnaire
2
Result
5
Reflective
Analysis
of
Director
Responses
Pertaining
to
Practice
There
are
several
conclusions
drawn
from
the
second
questionnaire.
There
seems
to
be
a
strong
correlation
between
figure
16
and
figure
18.
It
was
Steven
Oare
who
concluded
in
his
study
that
young
musicians
aren’t
capable
of
setting
regular
practice
times
by
themselves
(Oare
2011).
It
can
be
said
that
the
same
young
musicians
cannot
motivate
themselves
to
practice.
There
has
to
be
some
sort
of
requirement
to
instill
practice.
If
there
is
no
requirement
to
practice,
the
result
is
a
low
percentage
of
students
that
practice.
According
to
figure
17,
75%
of
the
band
directors
issue
a
practice
guide
to
their
students.
If
students
aren’t
required
to
practice,
are
the
directors
getting
maximum
effectiveness
from
the
practice
guide?
30
Interestingly,
a
personal
parallel
is
drawn
from
comparing
the
percentage
of
8th
grade
students
at
Springton
Lake
Middle
School
in
figure
19
to
the
excellent
and
superior
ratings
in
figure
15.
In
this
case,
there
is
a
deceiving
measurement
of
achievement.
This
has
been
the
issue
for
years.
To
the
public,
superior
ratings
look
great.
However,
we
must
not
lose
sight
of
the
individuals
in
the
ensemble.
The
question
raised
is
how
can
a
group
receive
successful
ratings
at
festivals
when
48%
of
the
ensemble
doesn’t
practice.
The
conclusion
is
because
group
lessons
have
become
remedial
which
is
a
direct
correlation
to
an
earlier
analysis
of
performance
achievement
5e
where
the
idea
is
to
make
practicing
an
extension
of
the
class
so
that
group
lessons
and
rehearsals
don’t
become
remedial.
However,
directors
tend
to
settle
on
the
success
of
the
festival
rating.
The
remedy
in
this
case
is
requiring
the
students
to
complete
practice
reports.
SmartMusic
gradebook
allows
the
teacher
to
assign
a
practice
report
in
which
the
students
must
complete
for
a
grade.
The
gradebook
feature
makes
it
easy
and
less
time
consuming
than
the
traditional
way
of
collecting
a
written
practice
log.
Requiring
the
students
to
practice
would
increase
the
percentage
of
students
who
do
practice
(fig.
18).
An
increase
in
student
practice
can
lead
to
increase
in
performance
achievement.
These
results
may
encourage
the
25%
of
directors
(fig.
14)
to
enroll
their
ensembles
in
festivals.
8th
Grade
Band
Practice
Questionnaire
To
measure
student
achievement
in
compliance
with
National
Standards
for
Music
Education
Performance
Achievement
Standards,
data
was
collected
from
fifty
31
8th
grade
band
students
from
Springton
Lake
Middle
School
by
way
of
questionnaire.
The
purpose
of
the
questionnaire
was
to
learn
about
the
students’
practice
habits.
Here
are
the
results
from
the
questionnaire:
Figure
19
–Student
Practice
Questionnaire
Result
1
Figure
20
­
–Student
Practice
Questionnaire
Result
2
Figure
21
–Student
Practice
Questionnaire
Result
3
32
Figure
22
–Student
Practice
Questionnaire
Result
4
Figure
23
–Student
Practice
Questionnaire
Result
5
Reflective
Analysis
of
8th
Grade
Student
Response
Pertaining
to
Practice
Habits
Figure
19
and
20
show
large
percentages
of
students
that
don’t
practice.
Based
on
the
graphs,
those
students
either
have
an
inconsistent
practice
regime
or
don’t
have
a
regime
at
all.
Figure
21
and
22
display
large
percentages
of
students
who
again
have
inconsistent,
non‐productive
ways
of
practicing.
Based
on
these
graphics
(fig.
19,
20,
21
and
22),
there
seems
to
be
no
goal
setting,
no
parental
supervision
and
no
routine.
33
The
keys
components
that
will
form
a
solution
in
this
case
are
using
guided
practice
and
SmartMusic.
Guided
practice
will
automatically
build
a
routine
in
their
practice
habits
(fig.
20).
The
guide
will
also
include
techniques
to
aid
independent
learners
in
fixing
rhythms
and
pitch
sequences.
SmartMusic
can
aid
in
two
ways.
First,
teachers,
and
students,
can
take
advantage
of
the
practice
report
feature.
This
will
automatically
require
the
students
to
practice.
This
targets
48%
of
the
group
that
doesn’t
practice
(fig.
19)
and
40%
of
students
who
aren’t
motivated
(fig.
22).
Second,
SmartMusic
used
in
ways
to
produce
aural
imagery
will
ignite
intrinsic
motivation.
The
idea
is
to
instill
required
practice,
through
SmartMusic,
which
leads
to
achievement,
which
leads
to
a
sense
of
accomplishment,
which
leads
to
a
certain
kind
of
fun
for
the
students.
Practice
won’t
seem
required
or
forced
as
time
goes
on.
An
interesting
conclusion
is
drawn
from
figure
23.
48%
of
the
8th
grade
students
at
Springton
Lake
Middle
School
have
SmartMusic,
yet
the
percentages
in
figures
19,
20,
21
and
22
show
large
percentages
of
students
that
don’t
practice
or
don’t
have
routine
regimes.
This
can
be
a
reflection
of
the
teacher
not
being
able
to
maximize
the
use
of
the
SmartMusic
gradebook
features.
The
teacher
is
limited
in
the
amount
of
assignments
because
the
completion
of
assignments
takes
time.
When
54%
(fig.
23)
of
the
group
has
to
use
three
provided
laptops
in
school
practice
rooms,
the
completion
rate
is
slow.
The
potential
can
be
maximized
if
every
student
was
equipped
with
SmartMusic
at
home.
34
8th
Grade
Pre‐Guide
Assessment
–
The
Sky’s
the
Limit
by
Rob
Grice
To
obtain
a
measurement
of
student
performance
achievement,
the
8th
grade
band
students
at
Springton
Lake
Middle
School
were
assessed
through
SmartMusic.
They
were
given
grade
3
level
music
titled
The
Sky’s
the
Limit
by
Rob
Grice.
The
intent
was
to
test
the
students
before
and
after
a
practice
guide
was
distributed
and
modeled.
It
must
be
noted
that
in
both
of
these
assessments,
the
teacher
did
not
rehearse
a
note
of
the
music.
The
measurement
purely
indicates
the
students’
ability
to
practice
and
learn
independently.
Grade
3
level
music
was
chosen
to
meet
performance
achievement
2e.
This
performance
standard
reads:
2e.
Students
who
participate
in
an
instrumental
ensemble
or
class
perform
with
expression
and
technical
accuracy
a
varied
repertoire
of
instrumental
literature
with
a
level
of
difficulty
of
3,
on
a
scale
of
1
to
6,
including
some
solos
performed
from
memory
Students
received
grades
from
the
SmartMusic
built
in
assessment
feature.
The
percentages
given
by
SmartMusic
were
converted
to
letter
grades
using
the
Springton
Lake
Middle
School
Grading
Scale
(Table
1).
Here
are
the
results
from
the
assessment
before
the
practice
guide:
Table
1
­
Springton
Lake
Middle
School
Grading
Scale
Springton
Lake
Middle
School
Grading
Scale
A
90%‐100%
B
80%‐89%
C
70%‐79%
D
60%‐69%
E
0‐59%
35
Figure
24
–
Total
Pre­Guide
Results
This
is
a
chart
separating
the
scores
between
students
who
have
a
subscription
to
SmartMusic
and
students
who
don’t
have
a
subscription.
Figure
25
–
Pre­Guide
Results
SmartMusic
vs.
Non­SmartMusic
36
Reflective
Analysis
of
Pre‐Guide
Assessments
The
measurements
of
success
on
the
graphs
of
figures
24
and
25
are
the
letter
grades
in
the
grading
system
of
Springton
Lake
Middle
School.
In
figure
24,
a
large
number
of
students
were
incompetent
in
performance.
Student
incompetency
results
from
students
not
practicing
(fig.
19),
students
not
practicing
with
a
routine
(fig.
20),
students
not
setting
goals,
and
students
not
using
a
practice
guide
to
fix
rhythms
and/or
pitch
sequences.
Figure
25
shows
a
significant
difference
between
SmartMusic
and
non‐SmartMusic
subscribers.
Those
who
do
have
a
subscription
to
SmartMusic
tended
to
score
higher
on
the
assessment
than
those
who
didn’t
have
a
subscription.
Both
charts
show
the
need
for
teacher
instruction.
Students
cannot
develop
into
finely
shaped
musicians
on
independent
learning
alone.
There
is
still
a
great
need
for
teacher/student
interaction.
There
is
still
a
need
for
traditional
methods
of
instruction.
Inclusion
of
Practice
Guide
David
Elliot
suggests
that
students
need
to
learn
how
to
learn
(Elliot
1995).
After
analysis
of
the
practice
questionnaire
(fig.
19,
20,
21,
22,
23)
and
seeing
the
results
of
the
first
assessment,
a
practice
guide
was
distributed
to
the
students.
The
objective
was
to
teach
the
students
how
to
learn.
The
practice
guide
was
covered
and
demonstrated
step
by
step.
The
practice
guide
followed
a
sequential
practice
routine
of
starting
with
a
warm‐up,
followed
by
technical
studies
from
the
method
book,
and
then
moving
onto
concert
selections.
37
Following
the
guide
allowed
the
students
to
establish
a
routine.
In
the
analysis
of
figures
20
and
21,
students
didn’t
have
a
routine,
and
those
that
did
practice
didn’t
follow
a
logical
routine.
Due
to
common
musical
concepts
being
underachieved
by
the
majority
of
the
group,
teaching
tools
were
created
to
aid
in
independent
learning.
The
SSOALS
method
(Table
2)
was
developed
to
aid
in
challenging
rhythmic
passages.
The
acronym
comes
from
a
group
of
steps
that
the
students
help
list
on
the
board.
Specific
steps
were
chosen
to
become
part
of
the
acronym.
The
SSS
method
(Table
3)
was
developed
in
the
same
fashion.
The
aim
with
this
method
was
to
help
independent
learners
develop
muscle
memory
in
pitch
sequence.
Learning
muscle
memory
at
home
will
cause
lessons
and
rehearsals
to
be
productive
and
not
remedial.
Table
2
­
SSOALS
Method
SSOALS
Method
S
S
O
A
L
S
Slow
it
Down
–
learn
at
a
slow
tempo
Sing
and
Fing
‐
concept
by
Stephen
Melillo
to
do
fingerings
while
singing
the
rhythmic
segment
(Melillo)
One
note
–
play
rhythmic
segment
on
one
note
All
notes
–
play
rhythmic
segment
on
all
notes
Loop
it
–
repetition
for
muscle
memory
Speed
it
up
–
increase
tempo
for
each
rep
38
Table
3
­
SSS
Method
SSS
Method
S
Sequence
S
Small
S
Segments
These
methods
were
demonstrated
to
all
of
the
8th
grade
band
students.
Independent
learning
was
the
main
focus.
They
are
to
be
used
when
practicing
the
technical
studies
out
of
the
method
book
and
when
practicing
the
concert
selections.
Students
were
then
to
complete
an
online
practice
report
as
a
requirement.
These
directions
were
included
on
the
practice
guide.
Requiring
practice
remedies
48%
of
the
8th
grade
students
(fig.
19)
that
don’t
practice
at
all.
Furthermore,
it
instills
self‐reflection
and
self‐assessment.
8th
Grade
Post‐Guide
Assessment
of
The
Sky’s
the
Limit
by
Rob
Grice
The
students
were
re‐assessed
on
a
different
portion
of
The
Sky’s
the
Limit
after
distribution
and
demonstration
of
the
practice
guide.
Analysis
was
conducted
on
the
same
thirty
students
who
took
the
pre‐guide
assessment.
39
Figure
26
–
Total
Post­Guide
Figure
27
–
Post
Guide
Results
with
SmartMusic
vs.
Non­SmartMusic
40
Reflective
Analysis
of
the
Post–Guide
Assessment
There
was
an
increase
in
student
achievement
when
comparing
post‐
assessments
to
the
pre‐assessments.
The
use
of
guided
practice
caused
an
increase
in
test
scores
(fig.
26
&
28).
The
use
of
SmartMusic
with
guided
practice
caused
a
significant
increase
(fig.
27
&
29).
Figure
28
–
Pre­Guide
vs.
Post­Guide
Figure
29
–
Pre­Guide
vs.
Post­Guide
and
SmartMusic
vs.
Non­SmartMusic
41
Students
using
the
practice
guide
performed
better
than
they
did
without
the
use
of
a
practice
guide
(fig.
29).
Students
using
SmartMusic
and
the
practice
guide
performed
better
than
those
who
don’t
have
a
subscription
to
SmartMusic
(fig.
29).
Final
8th
Grade
Student
Questionnaire
A
final
questionnaire
was
issued
to
the
students
with
the
intent
to
collect
data
on
the
practice
guide
and
practice
concepts.
Figure
30
–
Final
Student
Questionnaire
Result
1
Figure
31
­
Final
Student
Questionnaire
Result
2
42
Figure
32
­
Final
Student
Questionnaire
Result
3
Figure
33
­
Final
Student
Questionnaire
Result
4
Table
4
­
Rating
Scale
for
fig.
34
Ratings
in
accordance
to
Fig.
33
5
We
should
always
listen
to
pieces
before
we
play
them
4
I
needed
to
hear
it
to
understand
how
to
perform
3
It’s
important
but
not
needed
2
A
little
important
1
Not
important
43
Figure
34
­
Final
Student
Questionnaire
Result
5
Table
5
­
Rating
Scale
for
fig.
34
Ratings
in
accordance
to
Fig.
34
5
I
needed
it
to
establish
a
routine
and
to
use
the
SSOALS
and
SSS
methods
4
I
needed
it
to
establish
a
routine
3
It’s
important
but
not
needed
2
A
little
important
1
Not
important
Reflective
Analysis
of
the
Final
Questionnaire
Seventy
percent
of
the
students
practiced
with
the
practice
guide
(fig.
30).
This
is
a
considerable
improvement
when
comparing
this
percentage
to
fig.
19
from
the
pre‐guide
questionnaire.
Only
22%
of
the
8th
grade
did
not
practice
(fig.
31).
The
direct
result
was
the
increase
in
the
post‐guide
scores
when
compared
to
the
pre‐guide
scores
(fig.
32).
The
requirement
of
the
practice
report
caused
a
percentage
increase
in
the
amount
of
students
who
practiced.
On‐going
requirements
will
only
maintain
this
percentage.
65.22%
of
the
8th
graders
believe
that
aural
imagery
is
necessary
and
helpful
(fig.
33).
52.17%
of
the
8th
graders
44
believe
that
a
practice
guide
is
necessary
and
helpful
(fig.
34).
Consistent
inclusion
of
SmartMusic
and
guided
practice
will
maintain
these
percentages.
Chapter
4
Implications
for
Music
Education
In
this
chapter,
a
number
of
conclusions
and
hypotheses
were
drawn
from
analysis.
There
is
a
wide
range
of
educational
uses
through
SmartMusic.
The
possibilities
seem
infinite.
The
online
library,
practice
tools,
gradebook,
playback,
aural
imagery
and
assessment
features
that
are
included
with
SmartMusic
are
all
contributors
in
studies
conducted
by
Steven
Oare
(Oare
diss.
2007).
Steven
Oare
emphasized
goal
setting
and
self‐assessment
in
his
studies.
I
support
these
two
contributing
factors,
and
I
will
add
more
elements
as
contributors,
which
are
all
contained
in
SmartMusic.
Thus,
SmartMusic
combined
with
guided
practice
will
result
in
higher
levels
of
achievement
for
the
independent
learner.
As
for
the
ensemble,
all
of
students
must
have
a
subscription
to
SmartMusic
in
order
to
reach
high
levels
of
achievements.
With
only
some
of
the
students
subscribing
to
SmartMusic,
the
non‐subscribers
have
to
use
school
computers
to
complete
assignments.
This
creates
a
backlog
in
both
computer
usage,
which
adds
time
to
the
unit
or
assignment
to
be
completed
by
all
students.
Aural
imagery,
guided
practice,
self‐assessment,
practice
reporting
and
constant
reinforcement
are
all
so
vital
to
the
forward
motion
of
student
achievement.
The
percentage
of
students
who
don’t
have
home
access
to
the
software,
which
contains
these
vitals,
only
hinders
the
overall
potential
of
the
ensemble.
45
With
the
intent
to
improve
music
teaching
and
learning,
the
teacher
must
require
practicing.
The
teacher
must
also
communicate
to
the
parents
when
and
how
the
students
should
be
practicing.
Progress
must
be
tracked
by
using
the
practice
report
feature
included
with
SmartMusic.
The
idea
is
to
require
practice
so
that
it
becomes
routine.
Intrinsic
motivation
will
occur
through
the
students’
realization
of
musical
achievement
and/or
self‐gratification.
A
subscription
to
SmartMusic
is
costly.
There
are
grants
that
can
be
written
to
help
defer
costs.
Music
educators
attempting
to
fully
utilize
SmartMusic
and
its
gradebook
features
should
research
other
software
subscriptions
in
other
departments
in
order
to
draw
accurate
figures
and
conclusions.
This
information
is
necessary
when
proposing
for
grants
or
budgetary
items.
Full
utilization
of
this
software
requires
a
unit
of
computer
training
for
the
student.
The
student
must
be
trained
to
use
the
software
in
order
for
independent
learning
to
take
place.
Thus,
the
music
instructor
must
become
a
computer
teacher
for
a
small
unit
of
the
curriculum
in
order
to
teach
the
students
how
to
navigate
their
way
through
the
software.
This
will
save
time
throughout
the
course
of
the
school
year,
and
rehearsals/lessons
will
be
productive.
Additional
Methods
and
Concepts
While
conducting
the
research
and
collecting
data,
there
was
an
emergence
of
several
concepts
that
must
be
recognized.
First,
the
concept
of
using
SmartMusic
and
guided
practice
to
become
an
extension
of
the
class
has
prompted
a
reflection
of
how
group
lessons
have
been
for
the
last
few
years.
The
ongoing
thought
is
that
46
group
lessons
have
become
remedial.
Emphasis
on
using
this
technology
to
reinforce
learned
concepts
can
aid
directors
and
educators
in
achieving
forward
motion
to
their
curriculum.
Second,
using
SmartMusic
in
the
classroom
forced
me
to
become
a
different
kind
of
teacher.
It
opens
the
door
to
non‐traditional
modernized
teaching
that
is
not
podium‐centered.
Third,
creating
the
practice
guide
exposed
new
ways
to
get
the
students
involved
in
the
decision‐making
process.
Teachers
and
students
can
collaborate
and
create
problem‐solving
methods
together,
anew,
and
with
the
same
effectiveness
as
other
models.
Suggestions
for
Further
Study
Due
to
delimitations
of
the
research
and
data
collection,
the
data
only
represents
on
a
percentage
of
8th
grade
students
in
the
first
marking
period
of
the
school
year.
Further
study
would
involve
following
the
progress
of
these
students
to
the
end
of
the
school
year
when
they
are
graduating
to
the
high
school
level.
Because
this
study
involved
analysis
focused
on
National
Achievement
Standards
2a
thru
2e,
further
study
would
involve
tracking
progress
in
the
other
national
standard
benchmarks.
47
Bibliography
Oare,
Steven
Rex.
“Practice
Education:
Teaching
Instrumentalists
to
Practice
Effectively”.
Music
Educators
Journal
97/3
(2011):
41‐47
Lisk,
Edward.
“The
Creative
Director:
Beginning
and
Intermediate
Levels”.
Galesville,
MD:
Meredith
Music
Publications,
2001.
Lautzenheiser,
Tim.
“The
Cornerstones
for
Program
Success”.
Bandworld
(Fall
2010):
22‐23.
Alsobrook,
Joseph
and
Tim
Lautzenheiser.
“Pathways:
A
Guide
for
Energizing
&
Enriching
Band,
Orchestra
&
Choral
Programs”.
Chicago,
IL:
GIA
Publications,
Inc.,
2002
Graulty,
John
P.
“Don’t
Watch
Me!:
Avoiding
Podium
Centered
Rehearsals”.
Music
Educators
Journal
96/4
(2010):
53‐56.
Olson,
Cathy
Applefeld,
“Keeping
Ears
Wide
Open
Yields
Better
Practice
Results:
A
New
Perceptual
Learning
Study
Highlights
the
Importance
of
Listening”.
Teaching
Music
18/4
(2011):
24.
Frederickson,
Matthew
L.
“The
National
Standards
for
Music
Education:
A
Transdisciplinary
Approach
in
the
Applied
Studio”.
Music
Educators
Journal
97/2
(2010):
44‐49.
Elliot,
David
J.
“Music
Matters:
A
New
Philosophy
of
Music
Education”.
Oxford:
Oxford
University
Press,
1995
Norris,
Charles
E.
“Introducing
Creativity
in
the
Ensemble
Setting:
National
Standards
Meet
Comprehensive
Musicianship”.
Music
Educators
Journal
97/2
(2010):
57‐62
Powers,
Keith.
“Going
Mental:
How
Music
Education
Can
Develop
Critical
Thinking”.
Teaching
Music
18/4
(2011):
41‐44.
Standerfer,
Stephanie
L.
“Differentiation
in
the
Music
Classroom”.
Music
Educators
Journal
97/4
(2011):
43‐47.
Oare,
Steven
Rex.
“Goals
and
Self­Assessment
in
the
Middle
School
Learner:
A
Study
of
Practice
Habits”.
PhD.
diss.,
Michigan
State
University,
2007.
Boston,
Bruce.
“Teacher
Education
for
the
Arts
Disciplines”.
(1996)
http://www.menc.org/resources/view/teacher‐education‐for
‐the‐arts‐disciplines.
Battle,
Julie
Shepps.
“Why
Bright
Kids
Fail:
Helping
the
Underachiever”.
(2002)
http://www.about‐underachieving‐teens.com/why‐bright‐kids‐fail.html
The
University
of
Illinois.
“The
Underachieving
Student”.
http://mste.illinois.edu/courses/ci407su02/students/mdelisle/whitepaper2.htm
48
Mason,
Dick.
“LMS,
LHS
Fall
Short
of
Yearly
Progress
Standards”.
(2011)
http://www.lagrandeobserver.com/News/Local‐News/LMS‐LHS‐fall‐short‐of‐
yearly‐progress‐standards/
Feldscher,
Kyle.
“Behind
the
numbers:
Why
Some
Washtenaw
County
Schools
Didn't
Make
Adequate
Yearly
Progress”.
(2011)
http://www.annarbor.com/news/behind‐
the‐numbers‐a‐look‐at‐why‐some‐washtenaw‐county‐schools‐didnt‐make‐
adequate‐yearly‐pogress‐s/
Kersten,
Fred.
“Make
Technology
Instrumental,
Part
1”.
(2009)
http://www.menc.org/v/general_music/make‐technology‐instrumental‐part‐1/
Mendez,
Rafael
and
Edward
Gibney.
“Prelude
to
Brass
Playing”.
New
York,
NY:
Carl
Fischer,
Inc.,
1961.
Grifa,
Bob.
“Meet
SmartMusic
Teacher
Windy
Fullager”.
(2011)
http://blog.smartmusic.com/post/2011/02/09/Meet‐SmartMusic‐Teacher‐Windy‐
Fullagar.aspx
Grifa,
Bob.
“Amy
Burns,
Ti:Me,
Technology,
and
SmartMusic”
(2011)
http://blog.smartmusic.com/category/Meet‐SmartMusic‐Teachers.aspx
Grifa,
Bob.
“SmartMusic
Helps
Make
Connections”
(2011)
http://blog.smartmusic.com/post/2011/01/19/SmartMusic‐Helps‐Make‐
Connections.aspx
Grifa,
Bob.
“SmartMusic
Assists
in
State
Level
Performance”
(2011)
http://blog.smartmusic.com/post/2011/03/30/SmartMusic‐Assists‐in‐State‐Level‐
Performance.aspx
Kuzmich,
John.
“Importing
Files
Into
Assessment
Software”.
(2010)
http://periodicals.faqs.org/201011/2233892751.html
Yoho,
Scott.
“
The
Practice­A­Thon”.
(2011)
http://blog.smartmusic.com/post/2011/03/30/The‐Practice‐A‐Thon.aspx
Varela,
Elizabeth.
“SmartMusic
in
the
Classroom
Reduces
the
Risk
of
Budget
Cuts
to
Music
Programs
in
the
United
States”.
http://www.globeeducationnetwork.com/library/media/files/Varela_Elizabeth.pdf
Rudolph,
Thomas.
“Music
Technology
and
the
National
Standards”.
(2006)
http://www.tomrudolph.com/MusicTechStandards24C6BC.pdf
McVeigh,
Bob.
“Honing
21st
Century
Skills
in
a
Digital
World”.
(2008)
http://www.menc.org/v/general_music/make‐technology‐instrumental‐part‐1/
National
Association
for
Music
Education.
“Performance
Standards
for
Music:
Grades
5‐8”.
http://www.menc.org/resources/view/performance‐standards‐for‐
music‐grades‐5‐8
49
MakeMusic,
Inc.
“SmartMusic
Research
Articles:
Independent
Studies
Highlight
the
Value
of
SmartMusic”.
http://www.smartmusic.com/Educators/Research.aspx
Nebraska
Educational
Technology
Association.
“SmartMusic”.
(2011)
http://neta11.wikispaces.com/SmartMusic
Buck,
Michael
William.
“The
Efficacy
of
SmartMusic”
Ann
Arbor,
MI:
ProQuest
LLC,
2009.
Elliot,
Kathryn.
“App
Draws
School
of
Music’s
Interest”.
(2011)
http://www.mndaily.com/2011/08/10/app‐draws‐school‐music’s‐interest
Feldman,
Evan
and
Ari
Contzius.
“Instrumental
Music
Education:
Teaching
with
the
Musical
and
Practical
in
Harmony”.
Taylor
&
Francis
e‐Library,
2011.
Melillo,
Stephen.
“Let’s
Find
Out!”.
DVD.
Stephen
Melillo
IGNA,
2003.
Grice,
Rob.
“The
Sky’s
the
Limit”.
Northeastern
Music
Publications,
Inc.
2005
50
Appendix
Research
Questionnaire
1
–
Achievement
Standards
51
52
53
54
55
Research
Questionnaire
2
–
Practice
56
Research
Questionnaire
–
Student
Practice
Habits
57
Practice
Guide
58
Final
Questonnaire
59
Practice
Report
60
61