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Page 27 ï~~A SOUND DES Phil Ellis NCET/Department of Arts Education Westwood University of Warwick COVENTRY CV4 7AL The music curriculum in Britain now includes co children. This can begin in the early years and co In late twentieth century music there is a reawake rather than emphasis on the relationships between these changes without building cultural or stylistic code? A Sound Design describes an on-going cu involving teachers and children from all phases of computer programs and curriculum materials.
Page 28 ï~~prise at an unexpected encounter; - curiosity, a craving to know why; - wonder, because the conviction grows stronge we have chanced on an unexplored world, wh per ohven onais If we are to Â~ntoduce new technology to the music curni exciting and creative endeavour rather than prop up outcultural prejudice. If new technology is introduced to theI accessible to all children, be aurally exciting, encourage variety of styles of musical expression. Any music software for the classroom which demands a specialist knowledge of a computer language must be se euain Th QWRYc m ue/y e rtrkyoaction-access to sound is needed at all times. A mouse, are reasonable input devices at present, but must be sup] appropriate on-screen instructions. These instructions s displayed in an aesthetically integrated way. Simplicity
Page 29 ï~~but not devalue the baier of instrumental technique. keyboard is one way, this can be tuned to a whole rang sound~s across its length. Different ways of playing, st sometmes radically alter the quality of sound. At ternu sounds. Perhaps the most accessible way of all is via t touch' soundi More importantly perhaps, it is a powe. and conwrol to the severely handicapped where this ha The programs were produced for a BBC Master compr published by NCET in 1990. A second phase offthe project has been started and ha: work. A newsmite of programs, Designing Sound is schools prior to publicad on. DesnnSonisd: computers and also synthesizers and Midi keyboardsI development has been far the Archimedes range of co versions for Nimbus and Atari computers too. flit. * 1A 0 ~a -- rtI
Page 30 ï~~The second stage - Recording, Composing - is one of a product e in this instance a composition perhaps - and playing instruments in composing work. This part of t is a Midi recorder capable of recording up to eight trac simplicity, of technology enabling and extending music musical thinking. The screen display is kept very clea computer remain minimal. Additional features include transposition, looping, inv first recorded track can be copied to any other track, oi recorded music. Children with a range of abilities can with advanced musical techniques in a direct and acce, enough for primary children to use, yet encourages ad keyboard or synthesizer can be utilised, including mull Together with the development of this software is a sec teachers from all phases of education are developing c initiative. These should be published in 1991.