Managing EDI (Electronic Digital Instrument) students in ensemble and instrumental teaching is similar to teaching in general. The research project highlights how the instrument challenges ideas of what an instrument is and the methods for addressing this in teaching.
When teaching EDI, exercises are varied between the three-part structure of the instrument (computer, software and the control surface). The teaching approach can vary depending on what you need to focus on to achieve the desired musical result. Since EDI student rely on music technology to be heard, instruction in this area is fundamental.
Elements that are common with traditional instruments:
Playing technique on one or more control surfaces
Playing technique with one or two hands and feet
Harmonic, rhythmic, and melodic playing
Music theory and ear training
Ensemble playing
Improvisation
Repertoire and genre knowledge
Artistic expression
Working environment
Musical interpretation and communication
Study technique
Elements in the teaching that may be considered new:
Sound design
Creation of sounds (tracks/clips) or samples
Design of software functions
Design of control surface functions
Elements that take time during study compared to acoustic instruments:
Music technology
Instrument construction
Consider how the above elements will manifest and how to approach them in contexts involving EDI.
In ensemble and instrumental teaching, you can model form, harmony, melody, rhythm and, sound design in the software.
In ensemble teaching with various technical needs, view technical challenges as part of the learning process and allocate lesson time for this.
To reduce vulnerability due to absence or incomplete EDI instruments, develop routines for sharing created material and presets between students and teachers, and ensure the availability of duplicate technical equipment.
Allocate lesson time for sound design and the creation of personal production elements, giving EDI instrumentalist the opportunity to be creative while developing their instrument skills.
Creating a technical solution with separate listening for several instrumentalists in the ensemble allowing all to participate in the ensemble room while studying their individual parts during the rehearsal process.
Let the student's prior knowledge and the song's needs dictate the extent of the produced material. Adapt arrangements to suit the skill level.
Review arrangements in produced material so that it include clear rhythmic elements that can support the ensemble's timing.
To reduce vulnerability in ensemble and instrumental teaching, develop strategies for duplicates of technical equipment, access to files, and strategies for student absence.
To improve parallel learning in the room, instrumentalists can have access to individual listening for their work in the ensemble room.
Teachers can use multi-channel music productions to present the music and create practice material. By turning off individual channels, students can play their part toa whole according to the "minus-one" method. Students can also access files for individual practice.
When playing to backing tracks with fixed tempo, consider that audio files have rhythmic elements that the ensemble can follow.
Map out which music programs and instruments the students use before the lesson.
Create conditions for access to equipment outside of lesson time to promote EDI students' development.
Develop basic knowledge of the instrument and its condition - then consider how to address this in teaching situations.
During exercises focusing on the instrument's construction and sound design, use tasks where the student can problem-solve and be creative.
Let the EDI instrumentalist contribute to the production with created material over time and fill in elements needed for a final result as a teacher.
In instrumental teaching, give the student the task of creating short musical pieces within a time limit to simulate and practice situations in ensemble study with multiple instrumentalists.
Explore with the student the technical requirements, both in the program and external equipment, for sending monitoring to other musicians in the form of clicks, loops, etc.
Explore with the student the technical requirements, both in the program and external equipment, for recording acoustic signals and controlling tempo in the program.
Teachers guide students in the production phase based on feeling, creative decisions, practical implementation (e.g., counting in), and preparation for future lessons.
Teachers model the song and play different instrument parts and sections via their own project in Ableton Live.
Teachers offer students study support in the form of MIDI clips that the student can use as a reference during practice.
The ensemble works largely as a traditional ensemble would.
Students handle music technology solutions during set up and connection.
Teachers with basic knowledge of an instrument in the ensemble room generally adopt a coaching approach, building on the student's level and prior knowledge. In situations where neither teacher nor student finds a solution, the teachers refers to the instrumental teaching.
Teachers with good prior knowledge of one or more instruments in the ensemble have the opportunity to demonstrate and teach instrument-specific skills, even in ensemble situations. These skills provide the teacher leeway and reasons for reflection on teaching based on differences and similarities between different instrument groups in the ensemble.