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carts) or one-to-one Chromebooks. If you have access to a Principle #2: Use Technology to Support Student Learning
Mac lab or iPads, Garageband is free and is tremendously Each teacher must decide how musical content, pedago-
versatile. If you are looking for more robust software op- gy, and technology should work together to support student
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tions, you might consider Logic Pro X (Mac), Ableton Live learning. No single creative project or technological solu-
(PC/Mac), and Cubase (Mac/PC). tion works best for every classroom. Choral educators must
If you are unfamiliar with DAWs and wish to spend decide which technologies and creative projects will deepen
some time learning to use them, we recommend attempting and extend the students’ learning within their classroom.
a few projects on your own before starting with students. Therefore, consider DAW-based projects critically and plan
For example, arrange a portion of a folk song and record those you feel will enhance your instruction and provide
it using the DAW. Once you have arranged the song, learn meaningful creative opportunities for your students.
to record your voice and instrument using headphones and
your laptop or tablet microphone. Be sure to adhere to the Principle #3: Varied Practice Deepens Learning
metronome click during recording. Once you record the When learners practice their skills in different ways
essential parts (e.g., vocals, guitar, ukulele, or piano), use (varied practice) and apply key concepts to new situations
the loop library to add supporting tracks like drums. Use (transfer), their learning tends to be deeper, longer last-
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virtual instrument tracks to record a bass line or other ad- ing, and more readily applied to unique situations. At first
ditional parts. Exploring the DAW with your own personal glance, it may seem that DAW-based musical projects and
project is the best way to develop your understanding of choral singing are unrelated. However, consider how work-
how it works. For more guided instruction, see the video ing in DAWs might extend and enrich essential concepts for
links for each project below. students. For example, choral directors often instruct their
choirs to blend within their section and across the choir
and use many techniques to achieve a unified sound (e.g.,
A Few Guiding Principles for Integrating listening, vowel alternation, tone placement). Similarly, to
DAWs in the Choral Classroom achieve blend in the DAW environment, students might mix
the volume of voices or change the timbre of voices using
Principle #1: Organize Creative Projects digital effects. Fundamentally the students are exploring the
The creative process can be uneven as students work underlying principles of blend (i.e., timbre adjustment, vol-
back and forth between idea generation, editing, and refin- ume) and how to achieve blend in both environments. Ap-
ing. Nevertheless, it is important to structure creative proj- plying skills and ideas in several unique settings may deepen
ects within the classroom so students are not overwhelmed understanding for choral singers and enhance performance.
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by choice or lack of direction. First, be sure the students The examples below highlight how each project might sup-
have the prerequisite skills to complete the project at hand. port conceptual learning within the choral classroom.
If students lack the requisite knowledge to complete the
project, initiate a series of small introductory projects that
DAW-Based Choral Music Projects:
enable them to develop their musical, compositional, or D A W -B a s e d Ch o r a l Mus i c P r o j e cts :
Three Examples
technological abilities. Second, demonstrate and explain T h r e e E x a mp l e s
the final product at the project’s outset. Teachers might
provide example projects or rubrics as guides. Third, guide
the students through the various stages of the project. Each
Remixing Choral Literature
step of this process will require both imaginative and dis- Remixing Chor al Liter atur e
https://youtu.be/zrN2G77TmAY
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criminative thinking. Allow time for idea generation at https://y outu.be/zrN2G77T mA Y
the outset (i.e., brainstorming). Next, provide teacher and
student feedback as students clarify their ideas. Finally, en-
courage students to refine and finalize their end-product,
and allow students to celebrate and share their work with
peers. In this first project, students will create a new selection of
music by remixing a pre-existing piece of choral literature.

ChorTeach Volume 15 • Issue 1 9 Fall 2022