Download RARPA Case Study - The Learning Curve

RARPA Case Study April '04
Department: Music
Programme Area: Music Technology
Course: Cubase Sequencing 3MK506
Course duration: 10 weeks/30 hours
Level: Beginner
No of students: 7
Tutor: Karina Townsend
Aims
Procedures in place for establishing clearly stated aims for the
course:
Music tech courses are co-ordinated by a tutor co-ordinator who consults all tutors
delivering courses in the design of Course Outlines (COs). These state several broad
aims for each course. An example of the CO for the present course is included in
Appendix A.
Aims clearly communicated and understood by all learners on the
course:
COs are available online in advance. Hard copies are distributed to each learner at the
first meeting. Tutors read through the CO with the student group to reiterate,
conceptualise and demystify explicit aims. Student questions are invited and answered
from the outset, to clarify what is a complex subject. Statements of Learning (SOLs)
derive from these COs and students complete the beginning of course column
according to their initial abilities as to each aim. Appendix B gives an example of the
SOL used in the present course. Tutors check the SOLs with students to establish that
they are understood and completed.
Arrangements existing for establishing individual aims within a group
of learners:
Students introduce themselves to the group and to describe their music making and
computer using experience. They also describe any equipment they are using at home,
and share any experiences of using their particular set-up. Several students mention
what difficulties they have and what they are particularly hoping to learn on the course.
The tutor records any specific equipment described. Students' equipment is also
described on in Initial Questionnaire (IQ) which music tech tutors use to document and
assess their group. An example of the IQ is given in Appendix C along with the studentspecific notes made during session 1.
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The SOL explicitly asks students to describe any additional specific aims they have for
their personal learning during the course.
Procedures in place for negotiating, reviewing or amending these
aims during the delivery of the course:
Course delivery features a recap of previous work partly to contextualise new topics but
also as a means of assessing student learning and understanding and retention. The
tutor makes frequent use of Q&A and class/pair/individual observation to ensure that
each student is achieving the aims of each lesson. Whenever possible, students are
given individual support appropriate to their level and progress. Students are frequently
asked how they feel about the This course also featured a short formative test in week
5. Each student was asked to begin a new project from scratch, and to include the
topics covered to date on the course. The tasks were put sequentially on a checklist,
which asked the students to rate each activity as 'easy', 'OK', or 'hard'. The tutor used
these subjective checklists partly to objectively rate the students' progress at the halfway mark, but also, to inform the subsequent delivery, for example to build in revision
topics. This checklist is given in Appendix D.
Initial Assessment
Procedures in place to establish clearly the starting point for each
individual learner before the beginning of the course:
SOLs are completed at the start of the course. IQs (questionnaires) were further used
as a means of quickly getting an understanding of every student's initial state. These
questionnaires provide a snapshot of each student according to their musical
experience, instrumental ability, if they own or share a computer and whether they have
used any music software in the past. Importantly, it also asks if they have access to
music making software outside the course.
Records kept of these procedures and of the outcomes for each
individual learner:
There is a course folder to keep these IQs and the SOLs for reference during the
course. This also contains a scheme of work (SOW) allowing notes to be made
according to group and individual progress. The SOW for this course is given in
Appendix E.
This course used a modified SOL where the tutor rated each student's progress at the
halfway mark (using the self-assessment test to inform the tutor's observations).
Objective and subjective summative assessment at the end of the course was recorded
on the SOL where the initial aims were revisited and considered by the tutor and the
student.
Procedures and outcomes appropriate to the length, level and aims of
the course:
The music tech tutor team meets regularly to monitor and assess the strengths and any
weaknesses of courses. Cubase sequencing courses are taught by three tutors who
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share SOWs and various learning materials in order to standardise the courses as far
as possible.
On completion, students are all asked to provide feedback on courses and are asked if
they have any suggestions or comments regarding the course. We have found that the
majority of these feedback forms find the courses to be an appropriate length and level
and that the mix of theory and practical material is appropriately balanced.
Learning Objectives
Procedures in place through which suitably challenging learning
objectives are set for the course:
Learning objectives are set each week according to the lesson aims, which build, week
upon week, to meet the broad aims described in the CO. An example of an individual
lesson plan is given in Appendix F. Every session features a mix of theory and practice
as the overriding aim of the course is to promote independent confident working and
importantly, informed experimentation and personal study.
Objectives clearly stated and communicated to all learners on the
course:
In each session, lesson aims are set out on the whiteboard to introduce the session and
keep topics clearly in mind throughout. The aims are discussed and described in terms
of learning objectives so students understand what they will be doing each week, and
why.
Arrangements in place to review and revise objectives during the
course on the basis of feedback from individual learners:
Verbal feedback from students and observation of practical work continually inform the
pace of delivery and subsequent lesson planning. The latter is the crux of ongoing
assessment.
Particularly in the case of this beginners' course, musicianship and musical ability varied
widely. For some students, they were actually learning about music in addition to
specific software. For such students, it was vital to ensure that they had sufficient
technical ability to experiment with the materials of music for themselves, and as many
routes into music composition as possible. Graphic input methods proved excellent as a
means of introducing rhythm and composition to reinforce the notion of pulse and
duration, for example for those who had never played an instrument.
Formative Assessment
Procedures in place to support the process of formative assessment
on the course:
Each session featured a 'public performance' of work undertaken in the session. This
was by means of the central mixer and monitor speakers permitting the tutor to route
individual workstation output to the main speakers. Students played their work and
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discussed their working methods and any difficulties they had overcome in the session.
Peer feedback was encouraged and was universally acknowledged as very useful and
enjoyable. Several lasting friendships were formed on the basis of music made.
In addition, this central mixer permits the tutor to monitor via headphones what
individual students are doing so the tutor can choose to intervene where necessary or
appropriate.
SOLs were updated by the tutor at the half-way mark, after considering the task
checklist completed by students. The tutor discussed their self-assessment with each
student used this to pinpoint particular topics and techniques to revise with individuals
and in some cases, the whole group.
Effective arrangements for advising and supporting staff involved in
the process of formative assessment:
The tutor has completed a Post-Compulsory PGCE and has tutored many full and parttime adult learners over the past 10 years. As tutor co-ordinator, she is responsible for
the ongoing professional development of the music tech team and via meetings and
group emails, examples of reflective practice are shared and discussed with the tutor
team. Tutor observation is also routinely undertaken as a means of sharing ideas of
good practice, including formative assessment.
Effective procedures in place to record feedback to learners from this
process, and to link it to the review of individual learning objectives:
The midway task checklist documents subjective progress. It was used to give feedback
to students and to enable the student to reflect on what had been achieved and how this
related to the learning objectives covered to date.
Learner self-assessment used on the course and its efficacy:
The very nature of the subject matter meant that students were frequently selfassessing, explicitly in the practical phases. The technology relays student work directly
back via headphones and graphically on-screen. The learning strongly is goal driven,
students clearly want to refine and edit their work and the tutor observed increasing
competence and fluency in the use of the program to compose and arrange music
throughout the entire group.
Effective progress reviews as a structured feature of the course:
The public performance was a very popular means of reviewing progress in a shared
fashion. This gave the tutor the chance to highlight (revise) particular techniques
employed by selected students, and further, to refer to techniques students had
discovered for themselves. The tutor aimed to 'sum up' the progress made each week
and in one-to-one work, to reiterate specific progress to individual students.
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Arrangements for recording the outcomes of formative assessment
and learner reflection on these outcomes:
Sessions either asked students to begin new work, or, to open previous work and save
it under a different name. This way, students could refer to earlier work to assess for
themselves how they were progressing.
Concepts of progress and achievement communicated effectively to
learners:
Progress and achievement were frequently elucidated by the tutor, through public
performances and during one-to-one activity. Also during group Q&A activities. They
were also communicated effectively amongst learners via peer review. The evidence is
in the music that was made which was increasingly sophisticated and well produced.
Summative Assessment
Effective procedures in place to conduct end-of-course assessment:
Every student completes at least one well-produced piece that they burn to audio CD. A
measure of competence is the ability to produce more pieces in the available time.
Greater confidence and competence permit quicker working and therefore more pieces.
Towards the last quarter of the course, students undertake this major project and it is
during this phase that perhaps the greatest opportunities exist for objective tutor
assessment. In addition, students are able to take data files of their work away on CD to
permit them to continue to refine their work given the appropriate equipment beyond the
course.
Are there effective systems in place to advise and support staff
involved in the process of end-of-course assessment?
Every tutor is required to complete an objective summative assessment for each
student on the SOL. The student also self-assesses themselves according to the explicit
aims. There is also a chance to add anything additional that they feel they have
achieved on the course. As to support to staff, please see Formative assessment point
2.
Are there effective systems in place to record the outcomes of this
assessment?
The SOL documents these assessments.
Procedures and documentation in place through which a summative
statement on progress and achievement is agreed with learners:
The tutor completed the SOL after the student had made their self-assessment and the
final assessments were discussed with each student as a means of reinforcing what
had been achieved, and, in most cases, to pinpoint possibilities for progression to
further private study, home studio set-up or other courses.
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Use made of effective learner self-assessment in this stage of the
process:
Please see the SOL. The summative assessment was informed partly by the students'
self-assessment in addition to tutor observation.
Use made of effective peer assessment at this stage of the process:
As with all sessions, peer assessment played a major role. Students were able to play
their audio CDs to each other and discuss ways to develop their work in future projects.
How is the process of summative assessment explicitly linked to
individual learning objectives?
Because of the wide range of individual objectives (eg, "to make and record my own
music" to "to get my audio card and keyboard working at home") it is difficult to
document all objectives for all students. Nonetheless, the tutor was able to point to
these individual objectives and discuss with students how far they had gone in
achieving these. In the case of those wanting to get their own equipment working, this
clearly had been achieved during the course, and in the case of two students, tutor
support via email is ongoing.
Does the process of summative assessment record outcomes not
anticipated in the learning objectives identified for the course?
Not explicitly although some of the audio pieces clearly showed the inclusion of material
and techniques that weren't explicitly covered in the course, for example where one
student combined an audio technique from another course with his MIDI sequencing
work. One student said that they had learned more about themselves, in terms of
"sticking at something that they found hard".
Are the outcomes of this process clearly related to concepts of
progress and achievement?
To have made an audio CD of original work from scratch in 10 weeks is clearly a
measure of progress and achievement in itself. The fact that two of the students
envisaged playing their pieces when they were DJ'ing and one was using their work as
part of a portfolio for Higher Education shows how students viewed their achievement.
Are effective records kept by both learners and tutors on the
outcomes of summative assessment?
Tutors retain and use the SOL using them to inform their Tutor Evaluations of the
course. These are ultimately kept my the tutor co-ordinator and entered into an
electronic database. Students may request copies of the completed SOL and a Tutor
Report of their progress and achievement.
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Further Thoughts on Completion of the Course
Formalised self-assessment: although the tutor is asked to make an objective
assessment of the students' progress at the halfway point, I feel that students should
also be asked to assess themselves at this point.
At the end of the course, I believe that students tended to under-rate themselves
according to the learning aims and it may have been helpful to ask them to rate
themselves halfway to really ask them to reflect on what they had achieved at that point.
In addition, the learning aims set out on the Course Outline are quite broad. In fact,
many of them could be seen as being covered in the halfway task which all students
who completed it found to be quite 'do-able'.
Looking at the task from week 5, I believe that this gives a much clearer indication of
student progress than the Statement of Learning. However, it would be inappropriate to
ask students to rate themselves on such a wide array of learning outcomes at the outset
of the course as it would be bewildering and potentially destructive.
Perhaps it is an inherent difficulty in the Statement of Learning format. Students may not
truly realise that they have reached the broad aims even when they actually have.
Perhaps then it is a conceptual problem and in future, I may spend more time with
students in breaking down the broad aims to map to topics we have covered on the
course so they can self-assess more realistically.
Interestingly, the male students who completed the course tended to rate themselves
more highly than the female students and the high proportion of female students on the
course (highly unusual) may have skewed the final self-assessments.
The additional documentation used in music technology was developed in response to
the acute need to truly understand new students' starting point immediately. This is
particularly important, as students usually have to share workstations (this was an
unusually small class). It gives the tutor a 'headstart' in making choices as to student
pairings and perceived differentiation needs.
It is noteworthy that the student who wanted to go on to HE was subsequently offered at
least one place on the basis of the material she had done in this and the complimentary
Cubase Audio course she undertook at the same time. Noteworthy especially as the
institution was satisfied with her portfolio rather than an actual qualification (though she
would be classified as a 'mature' student).
In fact, given the generally mature demographic of our students, it would seem that
hands-on experience, portfolio work and a tutor report would count toward an
application for HE study just as much as an actual qualification.
A final point is that 3 students have subsequently contacted me via email for support
with their burgeoning home studios! This is excellent as I've had more feedback on the
course itself in retrospect from these students. One clearly stated that she now realised
she'd learned more than she thought at the time. Clearly supported by the informed and
highly focussed questions she was asking.
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To illustrate that the learning goes on, one student has suggested that an email forum
might be established so that ex-students could share ideas and workarounds beyond
the duration of the course. An excellent idea which I'm aiming to establish in the coming
months.
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Appendices
A. Course Outline
B. Statement of Learning
C. Initial Questionnaire and Tutor Notes about Student Experience
D. Self Assessment Checklist Used In Session 5
E. Scheme of Work
F. Example Lesson Plans
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Appendix A Course Outline (3MK506)
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Course Outline
Programme area
Music
Phone No: 020 7430 0546
Course title: Cubase sequencing
Course no: MK506
Course tutor: Karina Townsend
Day: Tuesday
Dates: 6 January - 9 March
Time of class: 14.00-17.00
Fee: £130/£65
Venue: Stukeley Street
1. What is the course about?
Composing, editing and producing musical ideas using Cubase SX. You will use a
synthesiser to input notes and rhythms into this powerful sequencing program and learn
to edit and refine these to produce complete pieces.
2. What level is the course?
Beginner - aimed at anyone who wishes to learn how to put this exciting technology to
creative use. No prior experience of music sequencing necessary, however some
familiarity with computers would be beneficial. You needn't be a keyboard wizard as
Cubase is very flexible.
3. What will the course cover? (contents, themes,
projects)

Setting up a project studio and the necessary hardware and software requirements

Recording and editing parts in the Arrange window, using tools to extend and
create arrangements

Refining parts in the various Edit pages and graphic (step) programming from
scratch

Quantization and the creative use of MIDI controllers

An introduction to VST instruments
4. What can I expect to achieve?

By the end of the course you should be able to:

Produce at least one piece of original music which you will burn to audio CD

Use the MIDI functions of Cubase confidently and creatively

Have a good understanding of ways to develop your skills further beyond the
course

Have a firm understanding of a rane of equipment typical of a contemporary
project studio
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5. How will I be taught?
All classes will begin with a demonstration and discussion followed by practical work in
pairs. You will work on one of 6 Mac based workstations to practice set themes,
techniques and skills, applying these to your developing musical ideas and you will
regularly present your work in progress to the group. You will receive regular support,
encouragement and feedback from your tutor throughout the course
6. What course can I do next?
To learn how to add live instruments and voices to your work, you could study Cubase
Audio or Pro Tools. To study further sequencing approaches you could consider our
Reason or Ableton Live courses.
7. Are there any other costs (e.g. certification,
materials, equipment or books I need to buy before or
during the course?)
CDrs can be bought for saving your work (£0.50). Students should bring a note pad
and pen. A list of suggested reading is provided.
8. How will I know how I’m progressing?
You will save successive days' work as new files, providing a record of your progress.
You will receive regular support, encouragement and feedback from your tutor and
present your work to the group. You may request written feedback from the tutor at the
end of the course
9. Will I have a chance to give my views on the
course?
There will be an opportunity to evaluate your course at the end.
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Appendix B Statement of Learning 3MK506
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RARPA Statement of Learning 2003/04
This sheet asks you to record your learning during your course. We hope it will help
you recognise what you have learnt. It also provides us with a record of your
achievements. This is important because we use it as evidence to our funders in order
to receive the subsidy to enable us to fund the course.
Your name:
Course Title:
Cubase Sequencing
Course Code:
3MK506
Learning Outcomes
In the box below are the learning outcomes for your course.

At the beginning of the course please indicate your starting level (scale 1-4 below).

At the end of the course show how far you feel you have progressed using the
same scale.
Scale:

1 = I can do this well

2 = I can do this

3 = I can nearly do this

4 = I cannot do this
Learning Outcomes
Beginning
Of Course
Tutor’s mid
course
assessment
1. Produce at least one piece of
original music which you will burn
to audio CD
2. Use the MIDI functions of
Cubase confidently and
creatively
3. Have a good understanding of
ways to develop your skills
further beyond the course
4. Have a firm understanding of a
range of equipment typical of a
contemporary project studio
What do you hope to
achieve from the
course?
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End Of Tutor’s final
Course Assessment
Other achievements
Can you give examples of any other achievements you have made as a result of the
course? e.g. a new skill, a piece of work, personal development. (If you have several
others, choose the most significant ones for you.) Continue overleaf if necessary.
Signed
Name
Date
I confirm that progress has been made by this student and that s/he has achieved the
learning outcomes indicated above.
Signed
Name
Date
Thank you very much for your time
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Appendix C Purpose-designed Initial Questionnaire &
Tutor notes about student equipment/experience
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Music Technology at the City Lit
Initial Position Survey
At The City Lit, we are wholly committed to assisting people achieve their personal,
educational and employment goals and to enjoy themselves in the process. In addition,
we aim to promote a learning culture which ensures all learners achieve their maximum
potential.
Here in the music technology department, we understand that our students will have a
wide range of experiences concerning music making, and in using computers and other
technologies.
It’s important for us to gauge the success of our learning programs in terms of individual
student achievement and so we are piloting a scheme to assess individuals’
achievement on our courses.
Please take a few minutes to answer these questions as fully as possible. It is not a
test, but a survey designed to help the tutor understand your experiences in the areas of
music making and computing so that you get the help and tuition you need, and so that
we will be able to assess your progress throughout the course. All information will be
treated as confidential and will not be passed to any third party.
Thank you.
Name:
Age:
(optional)
Course:
Course
Code:
How did you hear about the course?
Do you play any instruments (inc. Vocals)?
Yes
No
Please describe your music previous making experiences (how long, highlights so far
etc)
Do you have the regular use of a computer?
Yes
No
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If yes, is it:
Apple
Mac
PC
If yes, is it:
At
home
Friend’s
house
At work
Library
Other
Is it your own or share your own computer?
Own
Share
If yes, do you have any music making software on it?
Yes
No
If yes, which programs?

How would you describe your abilities on a computer?
Beginner – haven’t used a computer at all before
Moderate – don’t use a computer much but can get around
Experienced – use a computer regularly and am confident
Have you made/played music on a computer or games console before? (If so how long
ago?)
Yes
No
Which program/s did you use?
Do you use any non-music computer programs?
Yes
No
Do you have an email address?
Yes
No
Do you use the internet regularly?
Yes
No
Do you use any music technology online discussion forums?
Yes
The City Lit
No
What are you hoping that music technology will do for you?
Any other comments?
Your information is valuable to us and we thank you for your time. The Music
Technology Team.
The City Lit
Cubase Sequencing 3MK 506
Tutor notes about student equipment/ experience
Start date: 6/1/04
NB: Tutor's original notes included student names.
Student 1 (M)

Moved to London 3 months ago from Wales

Been in a band for 4 years and made 3 demos in studios

Sang in a choir as a child

Plays various instruments, guitar, drums, basic keyboards

Has a new pc (sounds good spec, PlV 768 RAM) Windows XP (HP)

Creative Labs Audigy soundcard (seems to be having a problem with the breakout
box)

Cubase SX, Fruity Loops, Logic, Traktor, Numerous VSTs

Email yes
Student 2 (M)

Has Cubase SX on WinXP pc

Did Cubase Audio and All about plug-ins with Andy P

Has Terratec DMX 6fire soundcard with breakout box (probs with breakout box)

Has Midiman keystation (old and now discontinued)

No real instrumental experience

Email yes
Student 3 (F)

Has pc but no music software nor has ever used any

Plays piano but main instrument is Irish fiddle (!)

Teaches music in primary schools (used to teach secondary)

Doesn't see herself using computers in the classroom but wants this course more
to broaden her own experience

Email yes
Student 4 (F)

Been in London for 5 years (from Ireland) and began Djing 2 years ago

Plays house, techno and trance (beatmatching)

Has pc and Cubase SX but no keyboard

Also has Reason, Acid and Recycle
The City Lit

Has had no formal music training

Email yes
Student 5 (F)

Has worked with engineers to make about 10 tracks

Has a pc at home and could get hold of a keyboard

Doesn't have Cubase SX ("yet")

Interested in keyboard synths and in particular, the range of sounds and sound
design

Into ambient music

Email yes
Student 6 (F)

Has spent 8 years "hoping" to make music (!)

Has been DJing for 8 years and now wants to make her own tracks perhaps to
play out

Now studying theory as well

Hoping to go on to HE - sound/music tech if this works out

Has worked on Cubase with friends (partner - has Mac in house)

Wants to sing her own vocals to her own tracks

Has Cubase at home on Mac (Cubase VST 5 soon to be upgraded to SX under
OSX)

Also has a midi keyboard - not sure what it is

Email yes

(Feel she has a very realistic and concrete idea of why she's enrolled)
Student 7 (M)

(not present week 1)

Says he has experience of only vocals but turned up with a guitar on the second
and subsequent classes (!)

New to using a computer but keen to learn

Doesn't have access to equipment at all outside the course (not sure he wants
to…)

Doesn't use email

Seems very tentative and somewhat self-deprecating

(Older, less 'playful', feel he may have missed the group introduction and 'bonding'
in week 1).
The City Lit
Appendix D Appendix D Self-Assessment checklist
used in session 5
The City Lit
How's It Going?
Because this course runs over 10 weeks, it's worth pausing for a moment to take stock
of what we've covered already during the first half. In fact, we've covered a lot in a short
space of time so it's a good idea to put these new skills into action so we can see how
far we've come already.
Below, I've outlined a short project for you to try. There's nothing new here, only a recap
of the major themes and techniques we've been looking at. I'd like you to work your way
through the various points and, rate yourself on how confident you feel about each one.
Your name
Date
Task
1. Start up the computer and log in as student
2. Launch Cubase
3. Begin a new project (you can use 'default template' for this)
4. Assign the project to a new folder (give it a name!) within your
class folder
5. Save your project in this folder with the name 'test' and your
initials
6. Turn on the mixer and set up your headphones to a comfortable
level
7. Make sure AQ (auto quantize) is not lit up on the transport bar!
8. Make sure you can hear an appropriate click
9. Turn off cycle on the transport bar
10. On midi track 1, name the track and set it to play drums
(remember chn!)
11. Record a simple 4-bar kik/snr part
11. If it is too long, turn on 'snap' and trim the part to be 4 bars
exactly
12. On midi track 2, choose drums also
13. Name the track appropriately and record a 4-bar hi hat pattern
14. Trim it if necessary
15. On midi track 3, choose a sound for a bassline
16. Record a 4-bar bassline to compliment your drum parts
17. Trim it as necessary to last exactly 4 bars
18. Select all of the above and duplicate so the whole pattern is 16
bars
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Easy OK Hard
Task
Easy OK Hard
19. Use key edit to change the length of at least one of the bass
notes
20. Use key edit to change the start position of at least one of the
bass notes
21. Use key edit to change the pitch of at least one of the bass
notes
21. Create a new and empty 4-bar part on track 4
22. Use drum edit to enter some notes into this empty drum part
23. Duplicate this new part to last 16 bars also
24. In the project window, use the mute tool to produce a simple
arrangement
25. If you have spare time, feel free to embellish your piece as you
wish
26. Save your work
27. Quit Cubase and power down the computer safely
From this simple exercise, you can see that already, you can make a whole piece using
just the skills and techniques we've looked at in just 4 weeks.
Thank you for taking the time to evaluate your progress.
The City Lit
Appendix E Appendix E Scheme of Work 3MK506
The City Lit
Music Technology – Scheme of Work
Cubase Sequencing 3MK502
Lesson 1
Theme of Lesson

Welcome to the course.

Health and safety issues.
Administration and initial information:

PSL completion. Initial questionnaire completion. Group sharing of prior music and
computer experiences.
Making a start:

The problems with computers! (crashes and how to avoid losing everything).

What is MIDI?
Demystifying the workstation components.
Launching the Cubase SX software.
The main project window features.
Emphasis on the importance of MIDI channels and the fact we always find drums
on Ch. 10.
Triggering drum sounds with the keyboard.
Triggering tuned sounds with the keyboard. What's the difference?
What is a click/metronome for?


Making your first 4-bar recording of a simple kick and snare drum beat. What's
important ? (underlying pulse or tempo).

A brief introduction to the toolbox and tools - guessing what they could be for. The
importance of saving in the appropriate place.

Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in one session?
Recommended reading and websites.
Resources

Workstations. Whiteboard & Markers.

PSLs.

Initial questionnaires

Project window handout.

Reading list.
The City Lit
Lesson 2
Theme of Lesson

Recap and welcome any late starters (admin etc).

Retrieving previous work and expanding the arrangement using tools introduced last
week.

Extending an arrangement using generic commands like copy and paste, repeating
parts and using software specific commands like alt+drag. Why could this be useful?
(moving drum parts onto other midi channels to produce rhythmic tuned parts).

What makes a bassline? (Low pitch and usually monophonic).

What are the characteristics of a strings part or a 'pad' part? (Chords. Discuss what
makes up a chord and how it derives from a scale.)
Getting into the details:



What if one of my notes is 'out'.
Do I have to re-record the whole thing? No!
Using the 'solo' button to 'audition' separate parts.
Conversely, using the 'mute' button to mute a single part. How can this help us
assess what's going on?
An introduction to the Edit page (Key edit) and the toolbox within. What can you see?
(Musical notes). Pitch and note length and where they occur.
How can we change (edit) them?
Similar methods of data manipulation in this and the Arrange window (generic
commands and software specific).
Why use keyboard shortcuts? Isn't the mouse enough? (Discuss efficiency and health
and safety issues).

Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.
Resources

As above.

Key Edit, Part Processing & Keyboard shortcuts handouts.

Major scale handout.
Lesson 3
Theme of Lesson

Recap previous sessions achievements.
The City Lit
Delving deeper into the details:



The edit page (key edit) in greater detail.
Keyboard and mouse note entry procedures.
How is this different from playing notes in from the keyboard?
What are the pitfalls?
Snap, Q (note length). An introduction to controllers – this week only velocity and its
manipulation.

A brief introduction to drum edit emphasising the similarity with Key Edit.
Educated guesswork about the tools here.
What kind of music might graphic programming in the Drum Edit window be best
suited? (Examples of techno, electronica and house).
Repetitive units in popular music.
Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.
Resources

As above.

Drum Edit handouts.
Lesson 4
Theme of Lesson

Recap previous sessions and discuss where we are at after only 3 sessions.
More about beats:

Drum edit in greater detail.

Sub-menus and global commands like 'fill' guessing what they might be for.

What if we combine this with 'velocity' information?

What kinds of music might they be well suited to? (Drum n Bass examples).
Talking of composition:

Emphasise the variety of ways one could begin a piece – live playing versus
programmed drum parts for example.

Do we have to stick to one method? No!

Example of using a programmed drum pattern instead of a click in order to get an
appropriate feel.
What if I suddenly want to put in a middle 8!

Extending an arrangement using split/insert at locators.
The City Lit

What if I want to change the tempo? Am I stuck with just one? No! Using the
mastertrack to produce accellerandi and ralentendi.
How do I keep track of where I am?

Using Markers.


A few other handy midi controllers – pan, volume etc.
Why might these be useful?
Discuss what a symphony orchestra looks like.
Where does everyone sit?
How far away are they?
How might we re-create this in our compositions?
Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.
Resources

As above.

Drum edit handouts.

Marker Track & Mastertrack handouts.
Lesson 5
Theme of Lesson

Recap previous sessions and discuss what we have achieved already.


An introduction to quantize.
What is it for?
How can it help us out? (Tightening up timing on pieces played 'live'.)
Over quantize - 100%) and iterative quantize (50%).
What kinds of music are the two fuctions well suited?
Recap MIDI controllers.
Are there any more ways to modify the sounds we are using? (Introduce the idea
of 'cheap' domestic keyboards and discuss which ones have highly editable
sounds - e.g. Yamaha XG standard.
Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.

Resources

As above.
The City Lit

Quantize handouts.

Computer music magazines for self-directed study.

Midi controller handouts.
Lesson 6
Theme of Lesson

Recap previous sessions and discuss where we are at by now.

Where can we learn more about how music is made?
Using MIDI files and finding them on the internet.
Tutor examples in many styles.
Discuss how karaoke tunes are made (often midi files).



Importing a MIDI file and 'exploding by channel' so we can look at the various parts that
make up an overall piece.
Saving them as a new file and beginning to edit them for our own purposes (esp.
drum parts and patterns).
Examining them to get an idea of the nuances we might use to achieve more
realistic sounds.
Writing for film: Importing a movie.

Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.
Resources

As above. Also example MIDI files.

Example quicktime movies.
Lesson 7
Theme of Lesson

Recap previous sessions and discuss where we are at now.

This week is a 'production week'.

Consolidation of our compositions and beginning to refine these.
Sound balance:

Introduction to the MIDI track mixer.
Creating volume fades in and out:

Automation is possible using 'read' and 'write' in the track inspector.
The City Lit

Can we guess what other kinds of information might be automated (pan etc) and what
kinds of music might rely on this kind of effect?


Returning to controllers once more - Expression.
What is it?
How can we use it to make rhythmic material without a drum pattern?
What kind of music often uses this kind of effect?
Can we have 2 effects running on one part? Yes! Try pan and expression 'gates'.

Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.
Resources

As above.

MIDI track mixer handout.
Lesson 8
Theme of Lesson

Recap on previous. This week, only one new idea - MIDI effects (modules) – the
arpeggiators and MIDI echo features. Discuss where arpeggiators originated and how
they could be of use to us in our own compositions.

What is an arpeggio in fact? It's a chord (week 2) played in a 'broken up' way, i.e., the
notes follow one another in time. Up and down or randomly. Discuss how this can
introduce movement into our compositions.

Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.
Resources

As above.

Example song files using midi effects processing.
Lesson 9
Theme of Lesson

Recap on previous weeks and plan for week 10.
The City Lit

A brief introduction to VST instruments. What are they? Do they do everything that our
keyboards do? (Not necessarily - due to specialisation).

Where's the sound coming from then? Discuss the importance of the mixer (to allow us
to mix keyboard sounds and computer sounds).

Discuss CPU usage and soundcard latencies and why these might affect how we can
use them when triggering them from a keyboard.

They're all I can use though and they sound great - where can I find more? Music tech
magazine giveaways, websites etc.

Putting it all together then: Recapping all the connections on the workstation - MIDI
leads and Audio leads. This will lead on to the final recordings next week.

Practical work in pairs with tutor observation and facilitating troubleshooting.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would in this session?
Recap the session building in details from previous week.
Resources

As above.

VST plug ins – native and further examples.

Studio wiring template to be completed by students in small groups.
Lesson 10
Theme of Lesson

Final recap. Project development work for final compositions. Emphasis on
incorporating the elements covered on the course.

Practical work in pairs with tutor observation and facilitating troubleshooting.

Final mastering of compositions to Audio CD.

Public sharing and discussion.

Recap. Student feedback –
did they enjoy themselves?
Did they achieve more than they thought they would on the course?
Recap the main elements of the course and discuss progression routes with
students.
Where to find budget software and equipment and adapting your own computer to serve
as a music workstation.


Completion of PSLs to establish how the students feel they have progressed on the
course.

Completion of anonymous course evaluation forms by students.

Any last questions. Final goodbyes.
The City Lit
Resources

As above.

Handouts on budget setups, websites handout.

CDrs for sale to students.
The City Lit
Appendix F Appendix F Example lesson plan – week 1
3MK506
The City Lit
Times
Content/subject matter
Teacher activity
Student work
Resources
25 mins
Induction
Verbal introductions
and descriptions
Listening
13 Course Outlines
13 PSLs
Health and safety matters.
Administrative form
filling
PSL and Initial Position Statement completion.
Verbal introductions
Welcome and induction to City Lit and the
Cubase Sequencing course.
Group activity.
13 Initial Position
Questionnaires
Workstation equipment
(Stress this wordy section is necessary only in
this first session).
5 mins
Introduction
Overview of the session (material and timings when we will have a break).
Putting today's work in the context of the whole
course.
25 mins
Practical demonstration
Enrolment and Information line Advice and Guidance line
020 7831 7831
020 7430 0543
Verbal explanation.
Whiteboard use.
Listening and verbal
response.
White board & marker.
Notebook and pen.
Equipment is OFF.
Introduce the components of a typical project
studio (only the computer, keyboard/synth and
midi interface at first).
Powering up: Starting up the computer, switching
on keyboard power and switching on mixers.
Launching the Cubase SX program.
Choosing a folder for your project and why this is
important.
Choosing an appropriate project format.
Looking around the project window.
Playing keys on the keyboard and checking MIDI
activity.
Sounds - tuned and percussive.
MIDI channels to access a variety of sounds.
Listening to a pulse or metronome. (Default
setting for now - 120bpm and 4/4 time).
Playing a simple rhythm in time with the
metronome.
Recording a simple drum part (e.g., kick and
snare).
Saving your work.
Playing back your drum part.
35 mins
Student practical work
The City Lit
Practical
demonstration and
discussion.
Listening and watching
demonstration making
notes if appropriate.
Distribution of
handouts.
Receiving handouts.
Question and
Answering tutor’s
answer to prompt for questions if appropriate
informed guesswork. and asking questions
appropriate to the
material of the session.
Demonstration
workstation, central
Behringer mixer and
monitor speakers.
Tutor prepared handout
on the Cubase SX
Project Window.
Students to divide into pairs (tutor aided if
necessary based on tutor formal and informal
assessment of group members from above).
Students to power up all components of
workstations.
Students to launch Cubase SX program, choose
an appropriate folder to save their new work and
choose the appropriate project format for this
class (MIDI sequencer).
Tutor to monitor
student activity and
listen remotely via
headphones on
Behringer mixer.
Working in pairs as
directed to practice,
discuss and consolidate
techniques covered so
far in the session.
Workstations,
headphones and
adapters, handouts for
reference and/or self
directed learning.
Notebooks and pens.
Refreshment and
informal discussion.
Canteen!
Tutor to prompt
student
troubleshooting if
appropriate.
Students to connect headphones and adapters to
workstations.
Students to choose set a track to MIDI channel
10 and play keyboard to trigger drum sounds.
Students to run Cubase and practice playing a
kick and snare pattern.
Students to record a simple kick and snare
pattern.
Students to save their work.
Students to play back their drum pattern.
15 mins
Break for refreshment/student social exchanges
Collation of student
forms.
15 mins
Tutor recap of work and new concepts
The City Lit
Tutor to choose one piece of student work to
demonstrate multi-track recording using a new
and tuned sound (e.g., bassline).
Tutor to introduce the idea of basslines - typical
characteristics and probe students as to their
understanding of 'pitch'.
Practical
demonstration and
discussion.
Watching and listening.
Asking appropriate
questions and
answering tutor
Question and
answer to prompt for questions.
informed guesswork.
Demonstration
workstation, central
Behringer mixer and
monitor speakers.
Tutor to monitor
student activity and
listen remotely via
headphones on
Behringer mixer.
Working in pairs as
directed to practice,
discuss and consolidate
techniques covered so
far in the session.
Workstations,
headphones and
adapters, handouts for
reference and/or self
directed learning.
Notebooks and pens.
Presenting work to the
group and discussing
methods and
troubleshooting
methodologies.
Workstations,
headphones and
adapters, handouts for
reference and/or self
directed learning.
Notebooks and pens.
Handouts from above for
reference.
Tutor to stress saving work as soon as new
material is added (reinforce the idea of computer
crashes and avoiding losing all work - student
responsibility).
40 mins
Continuation of student practical work
Student pairs to continue their practical work
according to the guidelines above.
Tutor to prompt
student
troubleshooting if
appropriate.
15 mins
Public sharing of work
Students to remove headphones and reconvene
in a circle facing inwards. Students pairs take it in
turns to play their pieces so far, answering tutor
questions about how they composed them and
how they got around any problems they
encountered.
Brief recap from tutor of the session and student
verbalfeedack.
Tutor to monitor
student work and
other students'
reactions.
Feedback to tutor
regarding their
enjoyment.
Behringer mixer and
monitor speakers.
Reading list handout.
The City Lit
5 mins
Powering down and tidying up (health & safety)
The City Lit
Lesson Plan - City Lit
Location:
City Lit Music
Technology suite
Date:
January 6th, 04
Course:
Cubase Sequencing
3MK506
Time:
2.00–5.00pm with a 15 minute break
at 2.30pm approximately.
Lecturer:
Karina Townsend Tutor
Co-ordinator
No. of
Students:
7
Group
Profile:
7 adult learners. No prior experience of the Cubase program is assumed. No
prior music making experience is assumed nor any formal music education.
Lesson Aims:
To introduce:

The students to the City Lit, the course, each other and the tutor.

The students to the idea of PSLs (personal statements of learning) and initial position
statements.

Health and safety concepts in the studio.

Basic concepts of computer use i.e., regular file saving, folders and launching
applications.

The components of a typical project studio.

The concept of MIDI.

The project window in Cubase SX.

The differences between tuned (scaled) and percussive sounds.

The concept and purpose of a metronome (underlying pulse).

Basic MIDI recording, saving and playing back.
Lesson Objective:
Students will be able to:

Observe health and safety guidelines in the studio.

Explain the purpose of folders and applications on a computer and the importance of
regular saving.

Identify the basic components of a project studio.

Identify and differentiate between MIDI and audio leads.

Describe the main components of the project window in Cubase SX.

Identify tuned and percussive sounds.
Enrolment and Information line Advice and Guidance line
020 7831 7831
020 7430 0543

Describe the purpose of a metronome.

Choose MIDI tracks to record both tuned and percussive sounds, save and play back
recordings.
Previous knowledge assumed:
This will be the first week of a 10 week course and no prior experience of music making is
assumed. This will be a 'diagnostic' session to establish the level of computer competence
and musicianship amongst the group.
Materials, equipment and resources:


Music workstations (7 in total), comprising
Apple Mac G4 computers running Cubase SX
Roland XP50 multi-timbral keyboards
Mackie 1202 mixers
headphones and adapters
one central Behringer 2404 mixer with Tannoy Reveal active monitors
whiteboard and markers
seating for students
Paper and pen for tutor to make any relevant notes during the session.
Tutor’s coursefile with prepared handouts for revision and/or self-directed learning
purposes.
Assessment of Student Learning:
Question and answer methods; Tutor and student directed. Assessing student 'guesswork'.
Tutor observation of practical activities via observation of working methods and also
individual Q & A.
At the end of the session, there will be a public performance (via central mixer) of student
compositions. Tutor to ask student pairs how they achieved certain aspects of their
compositions (based on tutor observations and Q & A during the practical phases) to permit
students to discuss their learning and methods with the group.
Differentiation:
Practical demonstration with verbal description, question and answer, use of handouts to
permit self-directed study and to aid task completion. Tutor observed practical work where
individuals have scope to show their present level of understanding. Student presentation
and verbal description.
Contingency Plans:
If the demonstration workstation fails for any reason, move to another workstation. If
workstations failed to a degree that the class could not feasibly continue, move to the
Learning Centre to look at learning materials there, or internet sites relating to Cubase and
other music technology.
The City Lit
Evaluations:
Did students remain engaged? Did students ask questions? Did students answer tutor’s
questions? Did they give correct responses? Did they retain/use handouts? Did they
complete practical work as directed and with increasing confidence? Could they describe
their methods appropriately?
The City Lit