Bob Moog - Technology Institute For Music Educators

Transcript

Summer 1999 TI:ME LEVEL 1 ALTERNATIVE CERTIFICATION PROCESS Steven G. Estrella, Ph.D. [email protected] Volume 3 / Number 1 IN THE SPOTLIGHT... An Interview with Bob Moog We have received numerous inquiries at TI:ME from in-service music teachers with extensive experience with technology who would like to obtain TI:ME level 1 certification without taking one or both of the TI:ME level 1 courses. An Alternative Certification Process has been designed to meet this need. As a result, it is now possible to achieve TI:ME Level 1 Certification via any of the following: • Take the two TI:ME Level 1 Courses (1A and 1B) at approved institutions. • Complete the TI:ME Level 1 Alternative Certification for both Level 1 courses (1A and 1B). • Take either course at an institution and complete the second via the Alternative Certification process. To obtain TI:ME Level 1 Alternative Certification you must fill out an application, become a member of TI:ME, download and read the course syllabi, attend the alternative certification session at the TI:ME conference, and pay a certification fee. Applicants must also submit projects and worksheets as proof of proficiency. Projects for TI:ME 1A include a notated concert score with parts and a multi-track MIDI sequence. Projects for TI:ME 1B focus on creating original multimedia projects incorporating text, digital images, and sound. There are also a number of worksheets and small assignments required for the two courses. The projects and other assignments are explained more fully in the course syllabi. An online application, syllabi, and a statement of the complete procedures for obtaining alternative certification are now available on the TI:ME web site in the CERTIFICATION section (www.ti-me.org). include building theremins, MIDI interfaces, an custom electronic music equipment. From 1984 to 1988, Moog was a full-time con sultant and Vice President of New Produ research for Kurzweil Music Systems, and from 1988 until 1992 he also served as a professor i the Music Department of the University of Nort Carolina at Asheville. Moog’s awards includ honorary doctorates from Polytechnic Universit and Lycoming College; the Silver Medal of th Audio Engineering Society; the Trustee’s Awar of the National Academy of Recording Arts an Sciences; the Billboard Magazine Trendsetter Award; and the SEAMUS award from the Societ of Electroacoustic Music in the United States. H has written and spoken widely on topics relate to music technology, and has contributed majo articles to the Encyclopedia Britannica and th Encyclopedia of Applied Physics. SL: What is you musical background? by Stefani Langol Bob Moog was born in 1934, in New York City. His academic degrees include a BS in Physics from Queens College (NYC), a BS in Electrical Engineering from Columbia University (NYC), and a Ph.D. in Engineering Physics from Cornell University (Ithaca, NY). In 1954 Moog founded the R.A. Moog Company as a part-time business to design and build electronic instruments, particularly theremins. The company became a full-time business in 1964, the year it introduced the Moog synthesizer. In 1971, the name of the company was changed to Moog Music, Inc., and in 1973, the company became a division of Norlin Music, Inc. Moog Music manufactured Moog Modular, Minimoog and other Moog analog synthesizers. Moog served as president of Moog Music until 1977. In 1978, Moog moved to North Carolina and founded Big Briar, Inc. for the purposes of designing and building novel electronic music equipment, especially new types of performance control devices. Big Briar’s activities continues to BM: I studied piano, theory, and sight singing a Manhattan School of Music in their pre-colleg division from 1942-1948. Frankly, it was somethin my mother wanted me to do. I was more intereste in electronics. SL: Who was your most significant mentor and how did they influence you? BM: My father was my first and most influentia mentor. He was an engineer and he had a very com plete home workshop. I loved working with him learning anything he would teach me. He kne some electronics, and he taught me how to solde and use a voltmeter. From him I got my love o building stuff, - any kind of stuff. SL: When did you begin designing electronic instruments and what was the first electronic instrument you designed? BM: When I was fairly young (maybe ten years ol or so), my father and I would build simpl continued on next page ☛ check out our website at www.ti-me.org electronics hobby projects, - two-tube radios and that sort of thing. At one point we built one or two very simple electronic musical instruments. After that I was off and running by myself. That was when I was 12 or so. I built my first theremin from a magazine article when I was 14, and I haven’t stopped since. When I was in high school, I designed and built several theremins. In 1953 I wrote my first how-to-build-a-theremin article, for Radio and Television News magazine. I was 19 at the time. SL: What was the inspiration behind your early synthesizer designs? BM: I worked with an experimental composer, Herbert Deutsch, - for a few weeks. Out of that collaboration came some basic ideas for the modular electronic music synthesizer. SL: Who were the first composers to use these electronic instruments? BM: My first synthesizer customer was the choreographer Alwin Nikolais. He composed all his music on tape, and wanted additional sonic resources. My second customer was Eric Siday, who was doing very well as a composer of radio and TV commercial music. After that we sold instruments to Vladimir Ussachevsky of the Columbia Princeton Electronic Music Center, Lejaren Hiller of the University of Illinois, George Rochberg of the University of Pennsylvania, and Gustav Ciamaga of the University of Toronto. SL: When did electronic instruments start to have wider appeal? until then, was making ‘highly-produced’ music possible. Synthesizers and other electronic musical instruments were really a part of that, as far as mainstream pop music was concerned. So were electric guitars and basses. But culturally, there was a demand for innovative, sonically-rich music. The record companies were frantically tossing every weird type of music they could find into the marketplace. Another factor, and this is something that concerns me from time to time, is that, since the beginning of this century, there has been a steady trend of people listening to less live music and more recorded music. It’s not just electronic instruments and I see today’s music production methods as being the logical continuation of the concepts that were invented by the earliest tape music composers, back in the late ‘40’s and early ‘50’s. SL: How has the use of electronic instruments and computers impacted on music making and music listening over the last few decades? BM: That’s a big question! I don’t think of what has happened in terms of the technological medium ‘impacting’ music. Rather, there has been an ongoing interaction between technology and culture, and a lot of things that have happened have been driven by cultural changes. For instance, think of the late sixties. The multitrack tape recorder, along with all the recording studio technology that had been developed up 2 BM: I remember predicting back in the sixties, that home keyboard instruments of the future would incorporate synthesizer technology. That certainly has come to pass. But it hasn’t ‘radically changed the way music is made.’ I see today’s music production methods as being the logical continuation of the concepts that were invented by the earliest tape music composers, back in the late ‘40’s and early ‘50’s. They are really the people who have ‘radically changed the way music is made.’ The computer is just making it easy and cheap, - and fun, - to do. SL: In your opinion, what potential does music technology hold for music education? BM: My most painful memories of taking piano lessons are of my piano teacher constantly beating on me when I made mistakes. I’m sure that I would have had a better time of it if I could have practiced with an electronic keyboard and a computer system that provided neutral, nonjudgmental feedback when I made mistakes. That is certainly one important potential of contemporary music technology, - student-friendly learning and practicing systems. They are really the people who have ‘radically changed the way BM: Nearly all of our first customers were either experimental composers in universities, or producers of music for radio and television commercials. The very first records using any synthesizer at all came out in 1967. And then, of course, the release of Switched-On Bach at the end of 1968 catapulted us into the mainstream of the pop music scene. SL: Was there ever a particular, defining time in your career when you realized that this technology had the potential to radically change the way music is made? music is made.’ computers and tape recorders. We’re spending less of our time participating in social interactions and more of our time alone with our various stimuli. A great example of this is the jogger or the factory worker, listening to his/her walkman, effectively shut off from the social environment. What part does the computer play in this? Well, every computer music production program that I know of is modeled after the tape recorder, the synthesizer, or other more ‘traditional’ music production tools. The computer just makes it more efficient, more automatic, faster. As a result, we have enormous quantities of recorded music. Anybody can make his/her own CD without getting up from their desk, these days. The care, skill, and concentration that has traditionally gone into music production is not in evidence in some of today’s music. Of course, it’s not just music. The same thing can be said for video and film, and writing. Another important area is, of course, the potential for all students to experience music production, - a complete ‘project’ that you can take home and play for your family and friends, irrespective of your talent or skill level, - just like a crayon drawing on a piece of paper. Computerbased music systems can really contribute here at all levels of music education. Visit TI:ME at our newly redesigned website– http://www.ti-me.org Meet the Advisory Board Tom Johnson Ken Johnson Ken Johnson is well known throughout Canada and the United States as a leader in music education technology. In addition to being the Director of SoundTree, Ken has started academic sales programs at Opcode Systems and Cakewalk Music Software. He is a popular clinician at the NAMM-funded Technology Institute for Music Education Tom Johnson, Product Manager of Coda Music Technology, has one of the most extensive backgrounds in the Music Technology Industry. While his main focus is Finale, the world’s best selling music notation software, he is also Product Manager for Coda’s other products: Smart Music Studio, Allegro, and PrintMusic! A graduate of the University of Minnesota Mr. Johnson has studied under Dominic Argento, Eric Stokes, Herb Pilhofer and Tomas Svoboda. An accomplished pianist, singer, and recording artist, he began his performing career in the early seventies performing his own compositions at universities across America. Concurrently, he composed and produced music for films and commercials as an employee of Sound 80 in Minneapolis. and a member of Villanova University's TI:ME advisory board. He has also authored a series of columns on music and technology for "Music and Computers" magazine. Ken combines years of private and public school teaching experience with a solid background in computer music technology. He received his music degree in Jazz Studies from DePaul University with an emphasis in vocal and piano perfomance. Mr. Johnson moved to Portland, Oregon and started his own production company, Alpha-Seven Productions, which specialized in music for industrial films and jingles. While in Portland he was awarded grants from the National Endowment for the Arts. After returning to Minneapolis in the early eighties, Mr. Johnson began focusing on recent developments in music technology. He joined Coda in 1987 and created the Domestic and International sales network that exists at Coda today. Since 1988, he has traveled the world assisting customers, both dealers and end users, in their search for solutions to the ever expanding world of computers and music. The TI:ME website is the source of all up-to-date information and news concerning membership, course materials and certification, publications, recent projects, and summer studies. Articles unique to the TI:ME website can also be found. The site is continuously updated and improved, and received a High Note Award in 1998. This award is given to music education sites that achieve excellence in creativity, organization, and content. The TI:ME website has been accessed over 22,000 times since April 1997. Kudos to Steve Estrella, our web site administrator. His timely postings and careful attention to detail have made the TI:ME website "the place to go" for on-target information from the world of music technology. If you have not checked out the TI:ME website recently, check out the web site for information on the new TI:ME Alternative Certification Program. It might be what you are looking for. http://www.ti-me.org Inquiries about TI:ME certification should be directed to: TI:ME, 305 Maple Ave, Wyncote, PA 19095, or via e-mail at [email protected] THE FIRST TI:ME NATIONAL The highlight of 1999 was the First TI:ME National Technology Conference, held April 14-17, 1999 at the Valley Forge Convention Center, Valley Forge, Pennsylvania. The meeting was held in conjunction with the Pennsylvania Music Educators Association (PMEA) State Conference. The Keynote presentation was given by David Mash, Vice President for Information Technology at Berklee College of Music. The Special Guest Presenter for the conference was Bob Moog, famed electronic musical instrument inventor. Other featured presenters included Tim Lautzenheiser, Tom Rudolph, Mike Skinner, Steven Estrella, and Floyd Richmond. Performances were given by Don Muro, the Capital Band from Capital University, the University of the Arts MIDI ensemble, and the Duquesne Faculty Electronic Music Ensemble. Ninety-eight technology sessions were presented and attended by over 1500 participants from more than 30 states. The sessions addressed the needs of beginning, intermediate and advanced technology users. ~ Conference Committee - Left to Right: Steve Estrella, George Pinchock, Floyd Richmond, Tom Rudolph, John Dunphy, Dick Merrell ~ ~ David Marsh, Vice President for Information Technology Berklee College of Music ~ ~ Left to Right: Debbie Cavalier, Berklee Press & Lynn Purse, Duquesne Unviersity ~ The music industry was most supportive. Over 150 vendors were part of the trade show with more than 20 technology related booths. Featured were five complete hands-on technology labs with keyboards and computers from Korg, Roland and Yamaha plus a Yamaha Music in Education Center. 4 ~Left to Right: Floyd Richmond, Bob Moog, George Pinchock, Tom Rudolph ~ TECHNOLOGY CONFERENCE WELCOME TO THE CONFERENCE John Dunphy April 14, 1999 “Good morning. I am one of three directors of the Technology Institute for Music Educators. George Pinchock and Tom Rudolph are the other two. It is my good fortune this morning to welcome you to the first ever TI:ME National Conference. What has brought us to this day, this culmination of four years of dreaming the same dream, is the unfailing support of NAMM, the International Musical Products Association, Larry Linkin and Gershon Rosenbloom, IAEKM, the International Association of Electronic Keyboard Manufacturers, and our dear friend, Mike Kovins. Thank you Music Industry. We are here at the PMEA Conference, thanks to Rich Victor and his tireless staff, a unique partnership of a time-tested educational association and a fledgling Technology Institute.’ My forty-two year vocation as a music educator has given me a few “Camelot” moments, those times, places, and associations that have been close to perfect. Their structure was always fragile and dependent upon factors out of everyone’s control, so that any change in components saw “Camelot” become “Brigadoon.” ~ Times Director: John Dunphy ~ TI:ME is our Camelot today. The synergy among music educators and the music industry is as good as it gets. The dream of TI:ME is to use the tools of technology to further the goals of music education. We will do this by providing the best training, the best information, and the most practical approaches to bring music technology to our schools. Enjoy the day. Enjoy the week. We think that you need TI:ME. We know that TI:ME needs you.” Thoughts from the Directors of TI:ME: “The TI:ME National Conference was a seminal “Players that come together for a short period of event for music education. As I walked around time to present the best that they have – like an All the technology conference rooms, I was amazed Star game! The Valley Forge conference saw just to see the number of computer/MIDI worksta- that. People from across the country coming tions in use This was the most ever at a state or together to share their talents and learn. The quali- national music education conference. It was also ty and caliber of the attendees at the conference was exciting to meet and learn from the experts in the ~ Conference Attendees ~ field of music education and technology. David Mash’s keynote, Bob Moog’s presentation, and Tim Lautzenheiser’s sessions were especially inspiring to me. It was a lot of work, but thanks to the efforts of the planning committee, it was a inspiring – music educators with all levels of experience rubbing shoulders with the movers and shakers in Music Technology. A success by all measures we are told. Thanks to all who came. We’ll so it again soon.” most successful event. I am looking forward to our next conference, after some time to rest and George Pinchock reflect, of course…” Tom Rudolph 5 NEW from NA M M New from KORG N5EX MUSIC SYNTHESIZER The KORG N5EX boasts a gigantic collection of sampling waveforms, with 563 multisamples and 304 drum samples stored in 18 Mbytes of PCM ROM. These include many superb-quality samples from KORG's world-renowned TRINITY and SGproX keyboards. The N5EX also features a new high-quality stereo sampled piano, electric pianos, vintage piano and drum samples, including enhanced bass drum and snare sounds. The internal preset area contains 1,169 sound programs which include GM (General MIDI Level 1) compatible sounds, and 302 combinations, each of which lets you bring together up to eight sound program. With 32-part multi-timbrality the N5EX can be used to create the most complex arrangements desired. Programs or Combinations can be used on each of the 32 Parts for total freedom of arranging. Each Part has a number of editable parameters, allowing you to easily shape the sound without going into finite editing. and IAKEM Plus, Line-in jacks allow the sounds of other instruments to be output together with the NX5R. *GS is a registered trademark of Roland Corporation. *XG is a registered trademark of Yamaha Corporation. *Macintosh is a trademark of Apple Computer, Inc. *IBM is a trademark of International Business Machines Corporation. New from KURZWEIL KURZWEIL EXPRESSIONMATE Kurzweil Expressionmate is a powerful MIDI processor that can be added on to any MIDI device. It comes as two parts: the desk top control box, and the 600 mm ribbon controller fashioned after the K2500 long ribbon. The Expressionmate contains three arpeggiators, and provides for a variety of types of MIDI control inputs. KURZWEIL HOME DIGITAL PIANOS Kurzweil Home Digital Pianoscontinues to expand In addition, two completely independent stereo multi-effect processors provide 48 different effects, including a unique resonance filter, chorus, delay, and rotary speaker. The N5EX contains everything you need to create your sound and add the finishing touches. In addition to the AI2 synthesis tone generator acclaimed by musicians worldwide, the NX5R adds an XG tone generator daughter-board, packing a double punch of music power. With 96 voices, 48 channel multi-timbrality, 2,365 sounds (1,689 AI2 sounds and 676 AWM2 sounds), and 52 different drum kits (31 AI2 and 21 AWM2), the NX5R easily switches between the XG and AI2 tone generators, so you can enjoy a wide range of tonal variations in one instrument. In addition to complete compatibility with GM and XG, the NX5R supports sound maps for GS and the KORG Super series (X5 tone generator sound map). The on-board computer interface makes it possible to connect the NX5R directly to a Macintosh or PC-compatible using a single cable. FINALE ALLEGRO 98 … Finale Allegro 98 … Your Best Nota Value…Simple Yet Professional. For musicians w want professional quality mu notation that’s affordable, and easy to use, Finale Alle provides more power for l money than any other notat software. Unlike other low priced programs, Allegr both easy and powe because its features are sele ed from Finale, the world’ professional music notation software. It has all MIDI and notation tools you need to create publi er quality scores. So, whether you’re creating a s ple lead sheet or a fully orchestrated score, Alle has it all. New from MOTU the Mark Series and has presented SIX NEW Mark Series instruments: The Mark 1, Mark 2, Mark 3, Mark 6, Mark 8, and the SP-100. Four of these, the Mark 1, Mark 2, Mark 3, and Mark 6, represent a change in marketing philosophy for Kurzweil. "These models are straight digital pianos-no rhythms, no toys, high quality, and priced for great value. "They are designed with legitimate piano education in mind," says Thomas Miller, VP of Kurzweil Digital Pianos. "They offer 88-note full size keyboards, the famous Kurzweil sound, and come in a variety of beautiful cabinets, including cherry, oak, and ebony." POLAR POLAR stands for "Performance Oriented L Audio Recording" and allows users to continuou loop-record vocals, guitar or any other instrument into their Power Macintosh, overdubbing each pass to build audio loops of any length with any number of layers. Many options are provided to facilitate real-time interaction w the computer, allowing users to record ideas qui ly and spontaneously. POLAR now lets Digital P former users build audio loops just like they been able to for years with MIDI. MTP USB This new USB interface closely matches MOT The new Mark 8 , Kurzweil's first entry level Digital Ensemble, will be a fully loaded 88-note digital piano with all the bells and whistles including auto accompaniments, 5-track song recorder/sequencer, advanced sound system, disk drive, and effects- but at a surprisingly affordable price. MIDI Timepiece AV and other current award-w ning cross-platform MIDI hardware, provi advanced features such as SMPTE synchronizati word clock sync, and sample-accurate ADAT syn NX5R SYNTHESIS MODULE Now with an internal XG tone generator board. The NX5R is a desktop music sound module with awesome flexibility! PrintMusic! provides a fun way to create, play a print music from scratch, or from any MIDI fi PrintMusic! is easy to learn, fast to use, and provides the same quality sheet music as the world’s top music publishers. Why? Because PrintMusic! is created from Finale, the worldwide “standard” in notation software. And with PrintMusic!, you can turn 1000’s of MIDI files, available FREE on the intern into sheet music titles to play and print right awa New from CODA MUSIC PRINT MUSIC continued on next pag network many of our interfaces to a single computer using a standard, affordable USB hub," said Jim Cooper, MOTU's Marketing Director. "Users will also be able to mix and match any combination of interface models to suit their needs." MOTU software users will enjoy simultaneous access to all MIDI devices connected to their USB MOTU MIDI network, and they will even be able to "hot-swap" them. MOTU has removed the parallel port and replaced it with a full-bandwidth, 12 megabit USB port. The new USB interfaces retain Mac serial ports, so they'll work with both old and new Macs alike. New from ROLAND EM-50 The EM-50 features Roland’s powerful sound set and great new music styles. These keyboards are EM-50 chrome also the first to introduce the D-Beam controller technology to the home keyboard market. This infrared light sensor provides a new creative performance aspect for players. With these powerful features a built-in stereo sound systems, the new EM-50 is perfect for both beginning and intermediate players. The EM-50 boasts a new GS-compatible sound table, 16 multitimbral parts, hundreds of built-in basic tones and 12 built-in drum kits. It also features 56 onboard music styles. The D-Beam controller’s infrared light-sensing beam lets users visually interact with their EM keyboard. By just moving their hand over the sensor, players can control a variety of onboard effects, including modulation, pitch bend and tempo. A new Style Morphing feature gives players the ability to make gradual, musical transitions between musical sections, and a new Style Progression function gives players six different arrangement levels for each style division. The EM-50 has a built-in 3.5 inch disk drive for playing Standard MIDI Files and storing user-created songs, making it a welcome addition to the Music Tutor Inside™ family. MT-300 Retaining the MIDI-simplicity of earlier MT-Series modules, the MT-300 adds the practical features needed by today’s aspiring musicians. With the Music Tutor Inside™, a variety of “human-like” qualities are available to help learners and assist professionals with all types of performance, from single-hand practice on a digital piano to acoustic instrument practice to ensemble performance in choirs and larger groups. news about TI:ME THE TECHNOLOGY INSTITUTE FOR MUSIC EDUCATION ANNOUNCES SUMMER CERTIFICATION SITES TI:ME, Technology Institute for Music Education, is offering its second year of music technology certification courses at 12 colleges and universities nationally during the summer of 1999. Twenty five courses were offered in 6 states by 10 instructors. The TI:ME courses provide music educators the opportunity to start with the basics of music technology and progress to learning all of the skills needed to teach music in today's changing world. Two courses are required for Level One certification: Course 1A: Basic skills in Music Technology: Electronic keyboards, MIDI Sequencing and notation. Course 1B: Basic Skills in Music Technology: Instructional software, Communications and Digital Media. Site locations for certification 1A and 1B courses include: Ball State University, Indiana; Berklee College of Music, Massachusetts; Duquesne University, Pennsylvania University/ Purdue University at Indianapolis, Indiana; Indiana University of Pennsylvania; Kent State University, Ohio; La Sierra University, California; Shorter College, Georgia; Temple University, Pennsylvania; University of Akron, Ohio; Villanova University, Pennsylvania; West Chester University, Pennsylvania. Some of these sites also offered Level 2 courses. In all, 12 TI:ME Level 1A, 8 TI:ME Level 1B and 4 TI:ME Level 2 courses were offered during the Summer 1999 session. Approximately 360 teachers attended these courses. To date, over 50 people are TI:ME Level 1 Certified, and an additional 35 are in the process. Newly certified people will be announced in the next issue of the ti:mes. OTHER NEWS Alternative Certification Interest in Alternative Certification is growing. Information on Alternative Certification can be found at TI:ME’s website: http://www.ti-me.org. TI:ME Curriculum Committee Meeting The TI:ME Curriculum Committee in scheduled to meet again in October, 1999 to begin the development of Level 3 Certification. MEMBERSHIP RENEWAL CAMPAIGN It’s time to renew your membership! Membership renewal forms and information are on the way, so watch out for them. Membership has continued to expand. Over 320 membership cards have been issued to date. Please renew your membership so you can stay current with all TI:ME activities, courses and news. The TI:ME Website Keep checking the TI:ME website. Webmaster Steven Estrella updates the site regularly. New links and resources have been added and more information is available, particularly concerning Certification courses and materials. TIME was developed through a grant from NAMM, The International Music Products Association with support from IAEKM, The International Association of Electronic Keyboard Manufacturers. With the MT-300, players can set and adjust the tempo of the music by using the Tap Tempo function. Th eMT-300 also incorporates a metronome that offers sounds ranging from rhythmic tones to those of a dog, a cat, or a human voice – making practice that much more fun and engaging. The MT-300 features built-in GS ensemble sounds with up to 16 simultaneous parts and 64-voice polyphony. Each part can be changed to any of the 369 onboard instrument sounds. A built-in rhythm pattern library lets the “non-drummer” access authentic rhythm patterns. With this workstation-in-a-box, MT-300 users can record and piece parts together one at a time. In addition, plug in a microphone and the MT-300 instantly becomes a karaoke machine – complete with key change and echo functions to enhance any singer’s voice. The MT-300 even displays lyrics on Standard MIDI Files on its built-in LCD display. MT-300 chrome MUSICIANS AND MULTIMEDIA--THE CREATIVE CONNECTION By Lynn Purse Duquesne University • [email protected] Making music in public has always been a theatrical show, whether on the opera or rock 'n roll stage. Through the internet and enhanc CDs and CD-ROMs, the computer screen has become a new stage and musicians can capture their audience's attention in new way Through the creative combination of music and sound, images and graphics, animation and video, musicians can express themselves wi greater variety and complexity and reach out to new audiences. BUILDING ON MUSIC TECHNOLOGY SKILLS Teaching multimedia skills to our music technology students at Duquesne has always been a priority. Macromedia's Director software h been a part of my Music Synthesis II class for several years; the student projects have evolved over time, from creating simple animatio with original music background tracks, to highly complex interactive projects. This year, several students created multimedia resumes which they included notation samples and audio clips of their compositions, videos of their live performances, illustrated biographies, an internet links to their e-mail and web page addresses. One graduating senior is moving his project to a CD-ROM format as part of his jo search; several others are moving part of their projects to the internet. They all expressed satisfaction with gaining multimedia skills whi built on their music technology skills and led them to new forms of creative expression. REACHING OUT TO THE WORLD An excellent example of a student's work finding itself an audience on the internet is the web page created by one of our graduating senior A talented performer and composer, Aaron Gardner has used his web design skills to create a web page, www.agardner.com, that sho cases his many talents and has drawn visitor responses from around the globe. Follow the "Musician" link and you can hear audio exam ples of his compositions. Follow the "Web Designer/Thirdstream" link and you can explore the web project he and a fellow student cr ated to track the development of their Senior Recital. Aaron's web site is an excellent example of how students can take the musical an technical skills they gain during their years in school and bring them to a final completion by distributing their work to a potentially unlim ited audience. A NEW FORM OF RESEARCH A freshman course taught by Bill Purse for Music Technology majors is designated “writing intensive” by the university because of t research papers required by its History of Music Technology component. This year, Bill required the final paper to be presented as a Po erPoint project instead of in its traditional paper format. The results surpassed his expectations; instead of reading a stream of papers th were merely correct, he witnessed an extraordinarily high quality of research and assimilation. The students, excited by the opportunity display their knowledge through an interesting medium, found and incorporated photographs, diagrams, sound, and audio examples instruments and equipment from the early years of Music Technology. In the process, they themselves were transformed from students in teachers, organizing their materials into meaningful sections and logical steps, and presenting their material to the class with all of the be and whistles that multimedia allows. The level of excitement and enthusiasm they displayed as they shared their work publicly gave tes mony to the fact that the medium itself encouraged them to take ownership of their work. In the same way that desktop publishing brought professional publication capability within the reach of anyone with a computer, so c desktop multimedia publishing bring new arenas to the musician, offering new opportunities for creative expression and reaching ne audiences. . BASIC MEMBERSHIP BENEFITS Subscriptions to two magazines: Keyboard Magazine Electronic Musician ▼ Bi-annual newsletter the TI:MEs ▼ TI:ME Membership Directory ▼ Discounts on TI:ME publications and conventions ▼ Access to the TI:ME Website ▼ TYPES OF MEMBERSHIP ▼ Individual . . . . . . . . . . . . $35.00 ▼ Institutional/Commercial . . . . . . . . . . . . . . . . . . . . $200.00 ▼ Student . . . . . . . . . . . . . . $15.00 ▼ Library. . . . . . . . . . . . . . . $25.00 CONTACT TI:ME ■ [email protected] ■ 610-287-3971 (fax) ■ 305 Maple Avenue Wyncote, PA 19095 the TI:MEs is a publication of TI:ME, the Technology Institute for Music Educators. Copyright ©1998. Mailing address: 305 Maple Avenue, Wyncote, PA 19095. No articles or pictures may be reproduced without the prior approval of TI:ME. Newsletter Director: John P. Dunphy. Editor-in-Chief: Stefani Langol. 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