Microphone Instrument
Microphone Instrument
|
|
Yamaha Mc-7 Instrument Microphone $74.99 The Yamaha MC-7 Instrument Microphone is a condenser mic for the Yamaha Silent Brass system. |
|
|
Used Yamaha Mc-7 Instrument Microphone $70.49 The Yamaha MC-7 Instrument Microphone is a condenser mic for the Yamaha Silent Brass system. |
|
|
Audix I-5 Instrument Microphone $99 The cardioid pattern Audix i5 Instrument Microphone is a dynamic mic with a smooth, uniform frequency response of 50Hz-16kHz with SPL handling of 140dB. It's versatile enough to handle a wide variety of applications and music genres. The i5 is truly a mic for all seasons and sounds great on vocals, snare, and guitar amps, with a clarity that will astound you. It features a durable cast zinc alloy body, dent-resistant grille, and black E-coat finish. Attractively laser etched with its model and serial number. Audix includes a heavy-duty mic clip and carrying pouch with the i5 Instrument microphone.Cardioid patternSmooth, uniform frequency responseHigh SPL handlingDurable cast zinc alloy bodyDent-resistant grilleBlack E-coat finishCable: 55" (1.4 m)Accessories Furnished: Windscreen, Heavy-duty mic clip, and carrying pouch |
|
|
Shure Pg57-Xlr Instrument Microphone $59 The Shure PG57-XLR Instrument Microphone is an ideal choice for stage or studio miking of guitar amps, brass instruments, and saxophones. The PG57-XLR Mic has the rugged build and reliable performance Shure is famous for. Its cardioid pickup pattern rejects unwanted noise and minimizes feedback. The neodymium magnet delivers high output levels. Internal shockmounting reduces handling noise. Its probe-style hardened steel microphone grille allows closer placement to the sound source and provides increased cartridge protection. On/off switch. Ideal choice for stage or studio miking of guitar amps, brass instruments, and saxophonesRugged and reliableCardioid pickup patternNeodymium magnet for high output levelsInternal shockmounting for reduced handling noiseProbe-style grille allows closer placement to sound source |
|
|
Audix F5 Instrument Microphone $79.99 The all-purpose Audix f5 Fusion Series dynamic instrument microphone is designed to mic a wide variety of musical instruments, including snare, toms, percussion, guitar and bass cabinets, brass, flute, and woodwinds, as well as vocals and speech. Assembled and tested by Audix in the USA, the f5 is an ideal mic for both stage and studio applications. With a wide frequency response of 55Hz-15kHz, the versatile Audix f5 mic provides clear, accurate, natural sound reproduction without having to rely on EQ. The f5 mic handles sound pressure levels in excess of 137dB without distortion, which lets you mic anything from guitar and bass cabinets to heavy brass with supreme confidence. Sturdy, compact, and easy to position, the f5's roadworthy construction includes a precision-cast zinc-alloy body, black finish, laser etched model number, steel mesh grill, gold XLR connector, and a tension-fit heavy-duty-nylon mic clip.Using in Audix f5:The f5 has a tight (hypercardioid) pick-up pattern in order to help eliminate sound from other instruments on stage from bleeding into the microphone. For this reason, it the f5 is exceptionally effective for drums and percussion in be able to capture the sound of each component of the kit. Snare:Start with the f5 about 2 inches above the head and aimed towards the center of the drum. For more "rim" effect, the f5 can be aimed less towards the center and more towards the rim. It is not uncommon for engineers to place the mic practically right on the drumhead to achieve a very tight, cracking sensation. Toms, congas:Similar to snare. For tighter sound and more attack place, the mic closer to the head. For more decay and overtones pull the mic further away from the head. Guitar cabs:The f5 can be placed within 1-2 inches of the grill cover at a 90 angle pointing directly into the speaker. If the mic is placed closer to the edge of the speaker, you will minimize the higher frequencies and get a warmer, fatter tone. To capture more highs, move the mic closer towards the center of the speaker, but avoid the middle of the speaker.Horns:Place the mic within 1 - 2 inches of the bell, especially when on a stage with drums, bass, guitar, etc. For jazz, classical, and music where the stage volume is lower, the mic can be placed further away for a richer, fuller, sound. Operation:The f5 is a low impedance microphone and should be plugged into a mic-level input on your console, mixer, or recording device. Please note that your microphone does not require phantom power and will not be effected in any way by phantom power should it be running simultaneously when the microphone is in operation. Avoid plugging or unplugging the microphone from the PA system unless the channel is muted or the volume of the system turned down. Failure to do so may result in a loud popping noise, which could seriously damage the speakers in the PA system. Hypercardioid pickup pattern for isolation and feedback controlLow-mass diaphragm for clear, natural, ac |
|
|
MXL MXL604 Instrument Microphone $81.85 This is a small-diaphragm condenser microphone that utilizes transformer-less FET circuitry and a 20mm gold diaphragm capsule design. It features -10dB switchable attenuation, selectable low-frequency roll-off, and an interchangeable omnidirectional capsule, making the the 604 perfect for acoustic guitar, ambient and overhead drum miking. The 604 exhibits low-noise characteristics with a wide dynamic range. Includes a deluxe wooden storage case, mounting clip and foam windscreen. 20mm gold cardiod and omni-directional capsules. Requires phantom power. |
|
|
Akg C516ml Miniature Instrument Microphone $189 The AKG C 516 ML is a lightweight cardioid mini microphone for use on accordions, guitar speakers, piano and keyboard/organ cabinets. The included screws and double-sided, solvent-free adhesive pads make it easy to install the microphone on your musical instrument or amp exactly where you need it. Using two C 516 MLs (one on the bass and one on the treble side) and an optional B 29 L battery power supply is an ideal way to mic up an accordion. The C 516 ML is the only version available and can be used with the B 29 L battery power supply, AKG WMS Series bodypack transmitters, or the MPA V L adapter for external phantom powering. The unique adapter plate A 400 allows easy attachment of the AKG pocket transmitters. Cardioid instrument microphone with miniature mounting bracket High mechanical-noise attenuation Including wireless direct adapter for easy use with AKG pocket transmitters Detachable microphone cable Ideal for miking up accordions and guitar, piano, keyboard, or organ amplifiers Includes 2 double-sided adhesive rubber plates, 3 countersunk bolts (3 x 30 MM), 3 self-tapping screws (2.9 x 13 mm), A 400 adapter, adhesive compound, H 516 Mount Plate, microphone bag, and W44 windscreen |
|
|
Mxl Mxl604 Instrument Microphone $99 This is a small-diaphragm condenser microphone that utilizes transformer-less FET circuitry and a 20mm gold diaphragm capsule design. It features -10dB switchable attenuation, selectable low-frequency roll-off, and an interchangeable omnidirectional capsule, making the the 604 perfect for acoustic guitar, ambient and overhead drum miking. The 604 exhibits low-noise characteristics with a wide dynamic range. Includes a deluxe wooden storage case, mounting clip and foam windscreen. 20mm gold cardiod and omni-directional capsules. Requires phantom power.10dB pad w/switch Selectable low-frequency roll-off filter 20mm gold cardiod and omni-directional capsules Wired with Mogami cable |
|
|
Akg P2 Dynamic Instrument Microphone $99.99 The rugged AKG P2 dynamic instrument microphone is recommended for instruments such as bass drums, trombones, or bass amplifiers. Part of the AKG Perception Live microphones series, the P2 bass microphone delivers powerful sound with a high-energy low end. The AKG P2 microphone's electrical hum-cancelling coil effectively eliminates interfering noises. An integrated mic stand adapter is another of the P2 AKG microphones helpful features. Perception Live Series For onstage performances, AKG Perception Live microphones all boast indestructible metal casings, rugged spring steel microphone grilles, appealing and scratch-resistant finishes, high-maximum SPL, and powerful sound for any venue. Dynamic microphone designed for low-pitched instruments Powerful sound with great bass range Handles highest sound pressure levels Integrated stand adapter Rugged all-metal body withstands typical tough stage use Humbucking coil rejects EMC noises Complete with carrying case |
|
|
Shure Beta 181/O Instrument Microphone $499 The Shure Beta 181/O Instrument Mic is a Shure Beta RPM181/Pre preamp fitted with a Shure RPM181/O omnidirectional capsule. The RPM181/O capsule is ideal for use for ambient recordings or for instrument ensemble applications.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/O). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe RPM181/O capsule is ideal for use for ambient recordings or for instrument ensemble applicationsSide-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
|
|
Shure Beta 181/Bi Instrument Microphone $499 The Shure Beta 181/BI Instrument Mic is a Shure Beta RPM181/Pre preamp fitted with a Shure RPM181/BI bidirectional capsule. The RPM181/BI capsule is ideal for mono drum overheads, and dual instrument sound source applications.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/BI). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe RPM181/BI capsule is ideal for mono drum overheads, and dual instrument sound source applicationsSide-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
|
|
Shure Beta 181/C Instrument Microphone $499 The Shure Beta 181/C Instrument Mic is a Shure Beta RPM181/Pre preamp fitted with a Shure RPM181/C cardioid capsule. The RPM181/C is ideal for drum overhead, piano, acoustic instrument applications, and M/S stereo recording (paired with a Shure Beta 181/BI).The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/C). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe RPM181/C is ideal for drum overhead, piano, acoustic instrument applications, M/S stereo recording (paired with the Beta 181/BI)Side-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
|
|
Shure Beta 181/S Instrument Microphone $499 The Shure Beta 181/S Instrument Mic is a Shure Beta RPM181/Pre Preamplifier fitted with a Shure RPM181/S supercardioid capsule. The Beta RPM181/S capsule is ideal for snare drums, acoustic instruments, and any other close-miking applications.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/S). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe Beta RPM181/S capsule is ideal for snare drums, acoustic instruments, and any other close-miking applicationsSide-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
|
|
Nady DM70 Drum and Instrument Microphone $29.99 The Nady DM70 microphone is equipped to handle extremely high sound pressure levels without distortion. The DM70 mic is ideal for live and studio close-miking of all types of drums and percussion instruments, and also for accurate sonic reproduction of brass, woodwind, and other instruments producing high sound pressure levels. |
 |
 MXL A 55 Kicker Dynamic Kick Drum Microphone New  US $96.22
|
 Earthworks TC30K Professional Microphones set of 2 w Wooden Case US $999.00
|
 Shure Beta 56 Compact Supercardoid Dynamic Microphone US $88.59
|
 Blue Dragonfly microphone with shockmount US $321.00
|
 Blue Bottle 8 Mic Capsule Kit B0 B1 B2 B3 B4 B5 B7 B8 US $4,299.00
|
 HORIZON 15FT INSTRUMENT MICROPHONE CABLE INSTR 1 4 to MICROPHONE FEMALE PLUG US $14.00
|
 UA LA610 MKII Channel Strip Exc NR US $995.00
|
 PylePro PDMIK1 Professional Moving Coil Dynamic Handheld Microphone MIC US $8.79
|
 Shure KSM 27 Mic US $175.00
|
 Shure ULXP 14 Instrument Wireless System US $699.99
|
 NEUMANN MICROPHONE TLM 127 W WOODEN BOX CLEAN US $1,799.00 |
 MXL 990991 Condenser Cable Professional Microphone US $26.00
|
 Vintage Commax Telephone Amplifier Model TA 3 cool unique contact microphone US $2.00
|
 APOGEE MINI ME 2 CHANNEL A D CONVERTER MIC INSTRUMENT PREAMP MICROPHONE PRE US $550.00
|
 BLUE Kickball Drum Mic US $60.00
|
 MXL 990s Condenser Cable Professional Microphone with Shockmount UNUSED W Case US $189.99
|
 1 Lapel Tie clip MICROPHONE with windscreen for wireless sys PC 10 feet cable US $7.99
|
 Audio Technica AT803a Condenser Lavalier Microphone US $50.00
|
 Guardian Audio Professional Dynamic Microphone Standard US $35.00
|
 Used Behringer C 1 Condenser Cable Microphone MINT CONDITION US $20.00
|
 AKG C451 B ST Pair US $800.00
|
 Audix Fusion 4 Cable Professional Microphone US $40.00
|
 Shure SLX14 System w Countryman E6IOW5T2SL Headset Mic J3 Band 572 596 MHz US $679.00
|
 Audio Technica 3000 Series Wireless Package with HEADSET added US $450.00
|
 Sennheiser e609 Dynamic Cable Professional Microphone Pair 2 US $110.00
|
 blue snowball microphones US $40.00
|
 Sennheiser MD 441 U MD441 U Mic with Pop Filter MINT CONDITION Worldwide US $375.00
|
 PH1 PHANTOM CONDENSER MIC OMNI RECORDING MICROPHONE US $24.99
|
 Audio Technica AT4047 Large diaphragm Cardioid Condenser Mic w Shockmount US $315.00
|
 DPA 4099 B Bass Condenser Mic w Clip for Acoustic Upright Double Bass US $299.00
|
 Sterling Audio ST55 Condenser Cable Professional Microphone US $79.89
|
 Samson C03U Condenser Cable Professional Microphone US $99.00
|
 Samson C01U Professional Condenser Microphone w USB interface US $79.99
|
 Josephson C42 C 42 Never Used Mint US $399.00
|
 Samson C01U USB Studio Condenser Microphone US $18.50
|
 EV Electro Voice Raven Dynamic Mic Authorized Dealer EXTREMEPROSOUND MIAMI US $134.99
|
 AKG C441B XLS Professional Condenser Microphone C 441B Mic Recording Vocal Drum US $202.50
|
 MXL 990 991 Studio Condenser Microphone KIT of 2 Mics Case No Reserve US $79.00
|
 AKG Perception 100 Condenser Cable Professional Microphone US $15.50
|
 Blue Snowball Condenser Cable Professional Microphone US $20.50
|
 Blue Baby Bottle Mic with shock mount pop filter cherry box NEW In Box US $200.00
|
 Shure SM57 Dynamic Microphone w mount case US $50.00
|
 Shure Beta 58a US $89.99
|
 M Audio Session Music Producer Producer USB Microphone BRAND NEW US $29.95
|
 Neumann M 149 Tube Condenser Mic US $2,275.00
|
 NADY 1200 VHF Wireless Receiver w Belt Packs Owned Used by STEVE VAI US $.11
|
 ART DPS II Preamp System with Dual Tube Mic Preamps US $130.00
|
 Digital Reference DR DRM7 7 Pc Drum Mic Set NO RESERVE US $91.01
|
 Prodipe TT1 Ludovic Lanen Model Dynamic Microphone US $19.99
|
 Royer R 121 Ribbon Matched Pair US $1,750.51
|
 |
Pyle-Pro PMSAX1 Instrument/Saxaphone XLR Condenser Microphone List Price: $111.99 Sale Price: Too low to display  |
|
Need to record your wind instrument? This XLR uni-directional condenser microphone uses a back electret condenser for crystal-clear recording of your instrument. It easily clips onto your trumpet, saxophone, flute, etc... |
 |
Audio-Technica ATR-1100 Unidirectional Dynamic Vocal/Instrument Microphone List Price: $9.95 Sale Price: $7.99 |
|
Impedance 500 ohms/Frequency Response 80 - 12,000 Hz/For vocal & instrument miking/Focused pickup (unidirectional polar pattern) helps prevent This handheld dynamic mic is a great introduction to Audio-Technica quality and durability... |
 |
Shure SM57-LC Cardioid Dynamic Microphone List Price: $146.00 Sale Price: Too low to display Used From: $69.99 |
|
The Shure SM57 is a fixture in the music business. You see it everywhere. In small clubs and 100,000 seat stadiums. This renowned mic is used by legendary performers and the latest up-and-comers. What you may not have seen are the thousands of SM57s at work behind the scenes in professional recording studios around the world... |
 |
Shure PG57-XLR Cardioid Dynamic Instrument Microphone with XLR-to-XLR Cable List Price: $59.00 Sale Price: $49.49 Used From: $30.00 |
|
Tailored for performers of every level, the versatile Shure PG57 dynamic microphone is a great, affordable choice for use with amplified or acoustic instruments. This PG57-XLR model includes a 15-foot XLR-to-1/4" cable, microphone clip, 5/8" to 3/8" thread adapter, and a storage bag... |
 |
AKG C1000S Multi Purpose Studio Vocal/Instrument Microphone List Price: $269.00 Sale Price: $158.03 Used From: $120.00 |
|
The versatility of the C 1000 S makes this an extremely popular model, and one ideally suited for all kinds of recording and live sound applications.If no phantom power is available, the mic can be powered by a standard 9 V battery, making it perfect for mobile use... |
 |
AKG C1000S Multi Purpose Studio Vocal/Instrument Microphone List Price: $269.00 Sale Price: Too low to display Used From: $144.99 |
|
The versatility of the C 1000 S makes this an extremely popular model, and one ideally suited for all kinds of recording and live sound applications. If no phantom power is available, the mic can be powered by a standard 9 V battery, making it perfect for mobile use... |
 |
Shure Beta 98H/C Clip-On Cardioid Instrument Microphone List Price: $397.50 Sale Price: $209.00 Used From: $187.99 |
|
The Beta 98H/C premium cardioid condenser instrument microphone that clamps onto the bell of wind instruments or onto the rim of percussion instruments, and its transformerless preamplifier circuitry improves linearity across the full frequency range... |
 |
Nady MPF-6 6-Inch Clamp On Microphone Pop Filter List Price: $24.99 Sale Price: $13.34 Used From: $19.29 |
|
Mic Pop Filter With Boom |
 |
Audio Technica Unimount Microphone Instrument Mount List Price: $55.00 Sale Price: $35.87 |
|
The AT8418 Instrument mount features a rubber-grip spring clamp that holds your microphone securely to the instrument without marring the finish. |
 |
Blue Microphones Yeti Pro USB Condenser Microphone, Multipattern. List Price: $249.00 Sale Price: Too low to display Used From: $186.75 |
|
The Yeti Pro is the world’s first USB microphone combining 24 bit/192 kHz digital recording resolution with analog XLR output.Featuring three custom condenser capsules and four different pattern settings, the Yeti Pro can capture digital audio with up to fourtimes the clarity found on CDs... |
Technology in and for the Instrumental Music Classroom
Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.
The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)
Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)
In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included - but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,
The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)
In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)
Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.
Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)
While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.
There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.
Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.
With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.
Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)
SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)
For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.
Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home - let alone internet access?
Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?
David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:
We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)
A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.
There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.
Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.
References
Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 - 197). US: Gordon & Breach Science Publishers
Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.
Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.
Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.
Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York
Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York
Gargarian, Gregory (1996). The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates
Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.
Rhodes, Stephen L. (2007). A History of the Wind Band - The American School Band Movement. Lipscomb University.
Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.
Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F., Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.
Thomas, David (2003). Internet Access Soars in Schools, But “Digital Divide” Still Exists at Home for Minority and Poor Students. U. S. Department of Education.
Traber, Chris (2007, September). Poor Students Struggle In Class. YorkRegion.com News.
Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).
About the Author
Tom Crawford is a middle school instrumental music educator currently finishing a graduate degree in Education Technology. He can be reached at tom.crawford@tusd1.org Website: http://edweb.tusd1.org/maxwell/band