Chromatik and SmartMusic Review

       As music educators, one of the biggest challenges we face is making sure our students have access to necessary information, both inside and outside the classroom.  In the classroom, this is not so tough because we are there to help our students and facilitate the learning process.  However, this becomes harder when students are at home.  With the proper devices and technology, software programs like Chromatik and SmartMusic can become very powerful teaching tools for students whether they are learning at school or studying at home.

       Chromatik can be installed on mobile devices like smart phones and tablets but it can also be accessed on a computer or laptop through its website.  Signing up is free but of course, there are more features and benefits if you upgrade your subscription.  Once I created my profile, I noticed I only had 3 plays per day, which can be upgraded to unlimited plays.  Navigating through the program is fairly simple and there is a huge catalog of music to choose from different eras ranging from The Beatles to Adele.  I chose "Eleanor Rigby" for my first play and I was astounded by the number of options I could pick from!  As a woodwind player, I chose alto saxophone and within seconds, I was looking at a page of sheet music transposed for alto saxophone.  When I hit play, I could hear the song as I was reading along with the sheet music.  The recording was played by a piano so an alto saxophone students can't really use the audio to develop timbre or articulation skills.  But being able to hear the notes, rhythms, and pitches while practicing is a huge benefit to this program.  Afterwards, I chose trumpet and again, the part was transposed perfectly.  Being able to transpose music in just a few clicks is invaluable to music teachers.

       The sense of community is very strong with Chromatik.  There are dozens of user-posted recordings and videos of songs from films, musicals, and traditional repertoire.  One minute I was watching a child in a pirate costume playing the theme from "Pirates of the Caribbean" on piano and the next minute, I was listening to a flute student playing "Danny Boy."  I really appreciate this implementation of technology and with cameras already built into most tablets and computers, anyone can share their work and receive feedback from fellow musicians around the world.

       As a concert band and jazz band director, the only downside I noticed to this program was the limited number of jazz artists.  I had no problem finding music from classical greats like Bach, Mozart, or Brahms.  But when I started searching for jazz musicians, the only person I found was Charlie Parker.  When I clicked play on the song "Dexterity," there was no video or recording to play it back.  Chromatik certainly has an enormous catalog of pop music or classical music, but I probably can't use this program much with my jazz band students.  Aside from that, I think Chromatik is a phenomenal way to guide students when they are searching for recordings to listen or practice to.  Other resources like YouTube can be useful as well but Chromatik helps students to focus their research and transpose music to fit their respective instruments.

       When I started looking into SmartMusic, I noticed the "MakeMusic" icon at the top of the web page.  Last year, I participated in a MakeMusic workshop and I learned about the possibilities of using this program with my students.  SmartMusic is very similar to MakeMusic in that it is a software program designed to assess student progress and performance by recording the student playing along with the music displayed on the screen.  This can only work if a student is practicing with a device that has a microphone.  Most tablet devices already have built-in mics so the hardware of today can certainly accommodate this program.

       Chapter 6 of Bauer's "Music Learning Today" centers in on the importance of assessment.  During a lesson, teachers can use a number of different rubrics to track the progress of their students.  Recording performances during class is another way that teachers can assess his/her students and provide feedback.  In some cases, students can assess each other as they practice.  When students practice at home, they may not always be able to tell if they are playing the correct notes or rhythms.  Sometimes, they may spend too much time on a piece of repertoire and not enough time on building fundamentals.  With SmartMusic, teachers can encourage what I like to call focused practicing.

       SmartMusic allows teachers to create their own musical assignments through its easy-to-use notation software.  I can write a simple 12-bar blues solo or I can write an 8-measure percussion rudiment.  Once it is written, the next step is to share it with my students.  They can listen to what I've written and when I share it as an assignment, students are required to submit a recording of themselves playing what I assigned.  My students always leave my class knowing what I expect them to practice but SmartMusic helps to reinforce what I assigned to them for their daily practice.  This alone makes this program fantastic, but it gets even better.

       As a student plays along with the recording, SmartMusic can actually detect when a student plays a wrong note or misses a certain rhythm.  Furthermore, it shows that student what he/she played incorrectly by displaying a wrong note (it is colored red) in the exact place where the student made the mistake!  This can encourage students to take tuning up more seriously and it can also show students how important it is to stay on top of building fundamental skills by practicing scales, exercises, or etudes.  Teachers can also set a limit in regards to how many recordings can be made, preventing students from constantly trying to re-record their performance in order to achieve a better grade.  By doing this, students will put in more practice so that when the time comes for them to submit their assigned practice recordings, they will be ready to do their absolute best.

       Unfortunately, I was unable to implement MakeMusic in my classroom this past year mainly because we do not have Apple tech at our school.  Instead of iPads, we have Chromebooks.  Other programs like Soundation, SoundCloud, and Audio Tool are available on Chromebooks but SmartMusic and MakeMusic are only available on iPads.  If these programs become available on Google Play, I will immediately start planning lessons and units with SmartMusic.

       Both Chromatik and SmartMusic are amazing tools for instruction and assessment.  For students, they are intuitive, easy to use, and quite accessible to most students if they have the proper technology.  I strongly recommend both programs for use in music classrooms across the country.

Reflection - Week 4

       This week's reading definitely shows that technology and media have a very strong influence on our everyday lives.  How people receive information has changed drastically over the years.  Television and newspapers were pretty much the only way people used to keep up to date on the news and current events.  Today, the internet has made information so much more accessible than it used to be.  Aside from news, people can research how-to videos, powerpoints on how to properly prepare a research paper, check the weather, and of course, learn about music.  People can look up different songs or genres of music and within minutes, they can download that song onto their phone, computer, tablet, etc.  Music educators can take advantage of this and implement different kinds of instructional software into their lessons.

       In the past, I have recorded myself playing scales and repertoire on various students so that they can listen to their part as they read it.  Each student has a Google account and I can send them these recordings via Google Drive so they can receive their recordings on any device connected to the internet.  My teaching style revolves around modeling and hands-on learning.  If they are at home listening to my recordings, they are only getting the audio part of it.  When they are in my classroom, I will play a different instrument almost every day so that each section of players can both see and hear how they must play.  When modeling, I always emphasize proper posture, embouchure, and hand positions (or drumstick grips for my percussionists).  The next step would be for me to record video segments so that my students learn the visual and musical concepts that we are working on in class.  Unfortunately, I do not have a webcam at the moment but I plan on using my iPad next year to do videos for my students.  They still have access to apps for metronomes and tuning so I encourage them to use those in addition to the recordings.

       The concept of structure and setting boundaries within the area of creativity is something I strongly believe in, at least in the beginning of the learning process.  When I teach my jazz band students how to improvise, I will often limit the number of notes they can pick from the blues scale.  By doing this, they can free their minds from the pressure of choosing the right notes and focus more on style and rhythmic applications.  After they've gotten the hang of it, I will let them choose from a larger set of notes, lifting the constraints that were placed earlier.  Depending on how experienced they are, the limitations will differ from one year to the next.  Just last year, I had a strong jazz band and we were able to go beyond traditional blues and get into pentatonic scales, modes, etc.  A few years ago, the jazz band played well but were extremely shy when it came to improvisation.  We had gotten into the pentatonic scale but that was it.  Since the jazz band is an audition-only group, I use my Chromebook to record each audition and carefully assess each student's skill level.  It is imperative for the music educator to evaluate his/her students' abilities at the start of the school year.  One of the most challenging parts of teaching music is making adjustments to lessons that play to the students' strengths while encouraging improvement in areas of weakness.  Careful assessment of student skill can certainly assist music teachers who face this challenge.

       Bloom's Taxonomy breaks learning into three definitive realms: cognitive, affective, and psychomotor.  If I were to pick the way that I learn, I'd go with psychomotor mainly because I'm a hands-on learner.  Consequentially, my teaching style involves a lot of physical work.  Sometimes I'll have my students stand up and stretch before we warm-up, I do breathing exercises with them, and we often clap or stomp our feet when we learn about rhythms.  By its nature, playing an instrument requires a strong foundation of motor skills.  This doesn't mean that cognitive and affective learning aren't as important when it comes to music.  As previously stated, when I model for my students, I do more than just play the music.  I try to impart as much knowledge as I can regarding technique through my modeling.  As far as reading music goes, I'm glad that Bauer mentioned Suzuki and Gordon because I support their style of ear-before-reading.  Much like the spoken word, children learn to speak by listening to others speak long before learning how to write.  The same goes for music and without a proper foundation of aural skills, learning how to read, decode, and notate music may be more difficult.  Many factors play into how students learn and teachers must always be aware of these factors.  Implementing technology is perhaps the best way to adhere to how students learn in this day and age.

Soundation Reflection and Review

Using software to compose and arrange music is something that I’m fairly familiar with.  Programs such as MuseScore and Finale have been very helpful in the past 9 years that I’ve been teaching.  Soundation is an online program that can be utilized from almost any computer connected to the internet and as long as you have that connection, you can access your account and start a new song to work on or you can continue editing a song you started earlier.
My composition, “Climbing Higher,” is a piece that starts with a few voices, but as it progresses, more and more parts join in to create a more complex piece.  It kind of represents my own progress in learning how to use all of these software programs that may be familiar to others but somewhat new to me.  At first, using Soundation was difficult because I had never used it before.  But after watching the tutorial videos and playing with the program itself, I finally started getting the hang of it.  The composition incorporates musical elements such as Form (it’s kind of an A-A-B-A form with an introduction and ending) and Dynamics.  For example, I used the volume display option to add a decrescendo just before the Bridge (B section) and towards the end of the Bridge, I put in a crescendo to build it back up into the A section.  The interesting part about all this is that I didn’t have to put in a crescendo symbol in the music; all I had to do was adjust the volume to fit the shape that I wanted it to fit.  Adjusting the yellow line to make a dynamic shape was easy and intuitive.  I hope that people who listen to this piece think of it as a song that starts simple, grows, and them comes back full circle to how it started.  The only musical difference is once it returns to the last A section, there are accompaniments and counter-melodies joining in that were not there in previous sections.  I’d like to think of this as a type musical scaffolding, adding and building off of the parts that were heard in other sections.
For the most part, Soundation was quite easy to use.  I took some time to watch the videos on their website to get an idea of how it works and what it has to offer.  The sound samples were easy to access and with a simple click, you can listen to each part to see whether or not it would fit with your current composition or arrangement.  Once you assign a part to either an audio or instrument channel, you can play around with elements like reverb or filter.  There were times when I felt like I was working in a recording studio, only I was in the comfort of my living room!  Being able to mute certain parts during playback is a huge advantage to me.  As more parts and voices join in, it can be hard to hear everything and obtain a sensible balance.  Muting parts and adjusting individual volume channels made a huge difference in balancing out my piece.  There were a few challenging moments, like when I was trying to stretch a part out or I couldn’t get my iRig piano/keyboard to work when I wanted to record a part for the Bridge.  But all I had to do was look up my issue on google and sure enough, there were numerous discussion forums and even a couple of videos showing how to fix the problem that I encountered.  There is certainly a sense of community within this program and there are always people out there willing to help me with my composition if I’m having trouble with something.
In regards to educational purposes, Soundation can definitely bring a lot to the musical classroom.  Due to the lack of notation in this program, Soundation is a great music-making tool for students who do not possess the reading and decoding skills of music that other students may have.  Band, chorus, and orchestra students are typically expected to know how to read music but for students who have never participated in an ensemble but would like to create music, Soundation should be at the top of their list.  Personally, I feel as if this program could be used more at the beginner level for music students.  If kids know how to read music, I would encourage them to use programs like MuseScore, Finale, or Noteflight.  All of these programs have immediate playback so students can listen to their work and observe how it grows and develops musically.  Kids can share their compositions and receive feedback from their peers, which I think is a great way for them to collaborate with each other.
As I was creating my piece, there were moments where I thought of how I would fit this into my lessons.  One example I thought of was to split my class up into groups of 3-4 students and each group would be working in their own “recording studio.”  Within their studio, every student would take on their own role (composer, arranger, sound engineer, etc.) and they would work together to create a piece of music.  For instance, the composer/arranger could assign certain parts to their respective audio or instrument channels.  Then, the sound engineer would listen to those assigned parts and make adjustments when necessary.  In my experience, giving a student a title like “composer” or “sound engineer” gives them a little boost in confidence and it makes them want to work harder.  At the end of class, each group will play their composition and the other groups will listen and share their thoughts on the piece they just heard.  This can turn the lesson into a living discussion forum and kids can talk about their original music in a safe and nurturing environment.  Feedback is imperative for students who want to improve their composition skills and even though I can give feedback as the teacher, students should learn how to give constructive feedback to one another.
I believe my middle school students would love to use Soundation in my classroom.  My band students already use MuseScore on some occasions so maybe they would enjoy Soundation.  Next year I will be teaching more beginning percussion classes so maybe Soundation would be a good fit for them since their notation skills are somewhat limited.  Overall, I really enjoyed using this program and my students will most likely enjoy it as well.

Reflection - Week 3

       The teaching of composition is very unique to me, mainly because of how students and adults alike can take so many different approaches to writing music.  Composing also yields many skills that are somewhat difficult to obtain in other capacities.  Creativity is at the heart of composition and that spark of creative thinking will allow students to really explore themselves and grow as individuals.  As a teacher, I agree with Bauer in regards to knowing one's students.  Teachers must effectively assess the skills and abilities of their students in order to properly plan lessons that adhere to each student's skill level.  Getting to know students and their limits is crucial when planning a lesson based around composition.  Of course, having a basic knowledge of musical notation can be helpful when composing but as Bauer pointed out, there are so many programs within today's technology that allow for both notational and non-notational composition.  Knowing how to read and write music is no longer a requirement when composing intricate and complex pieces of music, which is great for beginners!  Not only is it great for those who are just starting out in music, but it also benefits "The Other 80%," which Bauer refers to as the group of students who may not participate regularly in an ensemble-based music class (band, choir, and orchestra).  Non-notational composition software is perfect for young students, maybe K-4, but I believe around 4th or 5th grade, students should be learning about notation.  It often surprises me when I get a new student in my 7th grade concert band and that student will tell me that he/she never really learned how to read music.  This most likely means that this student was taught music by listening and by doing mostly ROTE activities.  While this may be great for audiation and developing a strong ear, it limits that student's ability to understand and decode music from a visual standpoint.  I always tell my band students that the ability to make music should be both an ear and eye endeavor.

       Setting boundaries and constraints when teaching composition is a fantastic way to develop growth and scaffolding within each lesson.  Students can and should build off of what they've previously learned so that they can move on to the next level or concept of music.  Technology can make this very simple, especially when a software program can set a limit on the number of measures in a composition!  For example, if a teacher wants to do a lesson on the blues, he/she can show the students 12-bar form.  However, within those 12 bars, the students can compose a melody or horn line on the first 4 measures, then the next 4, and then the final 4 measures.  By doing this, both students and teachers are progressing gradually through the composing process.  If the teacher told the students to go straight into composing a full 12-bar melody, they may have some difficulties with such a daunting task.  Breaking it down into smaller, 4-measure increments is a great example of setting constraints so as to promote student growth and development.  Taking it a step further, teachers can start delving into the chord progressions and showing students the different kinds of chords (I-IV-V) that coincide with traditional 12-bar blues.  Software that has immediate playback of student work can allow students to listen to their music and how it is growing as they improve their composing skills.  As students become better composers, the number of boundaries can be reduced, allowing for more creativity and expression among experienced student composers.

       Webster's (2003) multi-stage composing process should be essential knowledge for music educators.  Moving from one stage to the next (formative, craftsmanship, and expert stages, p. 62-63) shows that the involvement of the teacher should be lessened as the students become more independent and self-regulative.  In other words, in the beginning of this process the teacher will set a number of boundaries and he/she will give a good amount of feedback to the students.  Towards the end of the process, there will be fewer boundaries and students will have more freedom to critique their own work.  Some may argue that setting constraints can limit student creativity, which is why, according to Bauer, "There needs to be an appropriate balance between assigned constraints and freedom of choice" (p. 60).  I couldn't agree more with this statement.

       Audiation and thinking in sound (p. 65) should start as early as possible so that students can have a foundation for composing music.  This should also go hand-in-hand with learning notation as early as possible.  To me, reading and listening to music are equally important; they are pretty much two sides to the same coin.  Over the years, I've taught students who are brilliant with notation and they can sight-read a short etude within minutes!  However, their ear-training and listening skills are a bit limited.  On the other hand, I've also taught students who have astonishing listening skills but limited notation skills.  As their teacher, I must ensure that each student is improving in the area that they are limited in.  Technology can definitely assist me in this endeavor.  Just last year, I received an 8th grade transfer student who had great ears and her reading skills were fairly decent.  She came in only 4 weeks before our all-district concert in April.  The music we were preparing was quite challenging and I didn't want her to feel discouraged.  So for the first two weeks, I used MuseScore to write out a simplified version of her flute part.  She also stayed after school quite a bit to put in some extra practice time.  In week three, she got a slightly more challenging part.  Finally, in the fourth week, she got the actual part and stayed after multiple times before the concert.  She was very successful at the all-district concert and I was grateful that I had a software program where I can easily modify and alter parts to fit the level of my students.  When she asked me how I was getting these parts changed up, I showed her the software on my Chromebook and she immediately installed it on her school-provided Chromebook so she could write her own music!

Noteflight Reflection/Review

Prior to taking this music technology course, I had never used Noteflight.  I've heard of it before but usually programs like Finale or MuseScore were more common among my musician friends and colleagues.  Honestly, I kind of wish that I knew about Noteflight sooner!  It is a very user-friendly online program that allows musicians and teachers to compose and arrange music pretty much anywhere.  Unlike a program such as MuseScore, Noteflight doesn't necessarily install any software on your computer.  Instead, you work on compositions and then save it within your account in the Noteflight website.  So basically, you can make progress on your work at just about any computer as long as it has internet access.  No installations necessary!

The website itself is fairly easy to navigate and I came across only a handful of issues when trying to place certain embellishments in the music (accidentals, articulations, etc.).  When playing back what you've written, the sound quality is quite good and the instruments sound clear and well-balanced.  The option of displaying toolbars that relate to what your working on is a great way to reduce clutter and make the program much more intuitive.  Sharing your work is also fairly simple and if you are having trouble with that, there are plenty of tutorial videos both on the Noteflight website and on YouTube explaining how to use the program more efficiently.

Pretty much the only downside to this program is without internet access, you cannot log into the website to do your work.  This is where installed software like Finale, MuseScore, or Sibelius come in handy.  Of course, I think it's great to have both types of programs; one that allows you to work online and another to work offline.  By doing this, you won't have any limitations in what you can accomplish with your music.

Here's an example of Noteflight in action with "A Bicycle Built for Two."  Enjoy!!

Noteflight - A Bicycle Built for Two

Reflection - Week 2

       I thoroughly enjoyed the assigned reading for this week, especially with its focus on improvisation.  Since I'm primarily a jazz musician, a lot of the techniques and exercises mentioned in the text are already being used in my classroom.  Call and response, altering or changing a melodic line, and trading fours are a few of the many different teaching strategies that I use regularly with the jazz band.  For the concert band, we still do similar activities except for trading fours.  Setting boundaries (or constraints) is crucial for the developing improviser.  The whole concept of improvisation being structured really resonates with me, mainly because I use 12-bar blues to teach my students about Form in music.  Once you can delve into the Form or Structure of a piece, then you can dig deeper into things like chord progressions, leading tones, and resolutions.  Using scaffolding as a way to build upon what students already know is a great way to help students who are shy to overcome their fear.  A lot of times, my students will tell me how improvising was extremely scary at first.  But once they get the hang of it and they persevere, it's a very rewarding experience both for the students and for me.

       Back in college (undergrad) I submitted a research paper that explored the connection between Improvisation and Composition.  One major point I tried to make was that composition is almost the same as improvisation, except with composition, everything is kind of slowed down.  You can take your time composing, revising, editing, and going back to change notes, rhythms, or voicings.  Kratus (1996) states, "with improvisation there is no intent to go back and revise the musical sounds that are produced" (p. 51).  Both processes require the same amount of preparation as well as the development of aural skills and creativity.  But the execution of each process differs tremendously.  I often found that transcribing solos was helpful in both my improvising and composing skills.  When I wrote out solos from players like Lee Morgan or Cannonball Adderley, I would find some of their ideas coming out of my own solos when I improvised.  My style of playing would also go through some changes and I would try to mimic their styles.  When I wrote a piece of music, sometimes I'd take a lick that they played and harmonize it so that it can be played by an entire horn section, allowing me to explore the areas of orchestration and harmonizing.

       Using technology in my school is still fairly new since we just got our Chromebooks last year.  I've had students compose simple rhythmic patterns with tonal applications but they tend to be somewhat short.  If we had more time, I would allow them to write a larger full-scale piece that can actually be played and studied by an ensemble.  In addition to the use of Chromebooks, I've also given my students accompaniments that I've recorded myself or from some of my resources (Jamey Aebersold is still an excellent improvisation tool!).  Unfortunately, my students cannot take their Chromebooks home so I tend to burn CDs with those accompaniments so that they can still practice at home.

       Finally, I strongly agree with the concept of Automacity, which is building your musical skills to the point where you do not have to think all that much about the technical aspects of playing an instrument.  I always tell my students to "free their minds" and practice their instrument to the point that the instrument itself is an extension of the player.  I use modeling a lot and when I play for my class, I often say that I'm not thinking all that much about things like what key(s) to press for this note, the correct dynamic level for that phrase, etc.  By becoming one with the instrument, a student can "reduce the cognitive load" (p. 54) and he/she can focus on musical elements like shaping, phrasing, and creativity.  When I read that, I was smiling from ear to ear because that's what I teach to my kids all the time :)

Reflection - Week 1

       William I. Bauer's "Music Learning Today" and his PLN article provided quite a bit of insight regarding how technology is used in today's society.  For example, technology has certainly made everything much more accessible to everyone.  People are no longer limited in how they can use technology to make their lives easier.  One point I found interesting was how technology makes everything faster and students are able to receive instant gratification or rewards.  I see how this can be viewed as a positive thing but I've found it to have a negative impact, not on me but on my students.  I teach 7th and 8th grade band and as we all know, learning how to play an instrument takes a lot of time.  However, some of my students tend to grow impatient when it comes to studying their respective instruments.  I must remind them constantly that they must be patient and they need to take their time in order to be rewarded with that satisfaction of learning their instruments.  I believe that their impatience in learning an instrument has a lot to do with the fact that students today have been conditioned by technology to expect instant results.  This generation of teenagers must understand that certain things take time.  Again, many would view the instantaneous nature of technology to be a good thing, and in most cases I think it is.  But technology makes everything faster, which eliminates the need for people to develop patience, and it is affecting kids the most.

       Social networking websites can be used in many positive ways.  Bauer mentions how kids these days can move between the physical and digital world with ease (p. 6) and adults can also learn how to do the same thing.  On the other hand, I feel that it is not good for kids to spend too much time on these kinds of sites.  Cyber-bullying is an ongoing problem in our country and it is rooted in the realm of social networking apps or sites.  Social networking can be great if, according to Bauer, it is properly used to build a network of learning and sharing.  But I think in general, kids should not spend too much time on these sites.  I use technology in my classroom because my band students have Chromebooks that they can use during the school day.  On some days, I will assign work for them to complete on their Chromebooks.  However, on other days I will give them a written assignment that they have to finish and turn in.  I tend to switch up how my students do their work because I don't want it to be done 100% on their computers.  They need to learn how to use their hands and actually write down their answers using a pen or pencil.  I want them to know what it feels like to write a rhythmic composition using a pencil and paper, in addition to writing a composition using software such as MuseScore.  Sometimes my colleagues joke about how I am old-school and that I still physically hand out assignments instead of simply assigning them to my kids using technology.  But I don't want my students to always have to rely on technology to do their work.  That is why I switch back and forth between assignments on their Chromebooks and assignments that must be done on paper.  I do see the value in using technology in education but I think it is equally valuable to take a break from technology every now and then.

       Perhaps the most important bit of information I took away from this week's reading was how teachers must learn to adapt to the ongoing changes of technology in education.  I've been teaching for 9 years so I am not necessarily a 'new' teacher.  I have faced my share of obstacles and changes in my classroom, forcing me to adapt to many different situations.  Technological advances have made drastic changes in my classroom, no doubt about that.  However, the new teachers are the ones who are most likely going to be able to adapt to today's technology more efficiently than teachers who have not had as much technological experience.  I particularly enjoyed the terms given to the younger generation (digital natives) and the older generation (digital immigrants).  In my case, I was an 80s kid so I came from a generation that was gradually crossing over to the world of technology.  As a child, I didn't have a cell phone, iPod, or internet because they didn't exist.  When I was in middle and high school, the internet was becoming much more commonplace and beepers/pagers were on their way out, soon to be replaced by cell phones.  As a college student, social-networking sites became all the rage around the world.  One can see how I grew up as technology was also growing up.  Nowadays, elementary school students can learn by using technology in the classroom.  Sometimes, I wonder how my life would be different if the internet, iPods/iPads, and cell phones existed when I was a child.

       Overall, I thoroughly enjoyed the readings this past week.  Both the chapters and the article gave me a lot to think about when it comes to how teachers use technology in the classroom.  Even though I'm already using technology, I know that I have a lot more to learn.  I'm looking forward to taking on new approaches and learning new ways of teaching.