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Digital Marketing Live Virtual Classroom Training in Berkeley, CA | Eduklas

Digital Marketing Live Virtual Classroom Training in Berkeley, CA | Eduklas
Event on 2018-12-22 09:00:00
Digital Marketing Certified Associate Training The course covers core concepts of Digital Marketing such as Search Engine Optimization (SEO), Social Media Marketing, Pay-Per-Click (PPC), Website Conversion Rate Optimization, Web Analytics, Content Marketing, Mobile Marketing, Email Marketing, and Digital Marketing Strategy. The course will also help you master tools and platforms such as Google Analytics, AdWords, Twitter, YouTube, and Facebook. It includes Mimic Pro simulations to augment the concepts learned via virtual experience. Eduklas is conducting 4 days Digital Marketing Training in all major cities in United States. Note: Register in our Online Digital Marketing live virtual classroom training (Delivered through Live Trainer/Instructor) and get unlimited live class till you are Digital Marketing certified. Register for this 4 day Digital Marketing training (Live Virtual classroom training course-Instructor Led), spread over one weekday and clear the Digital Marketing Exam from an expert trainer. Key Features – Online Digital Marketing live virtual classroom Training: Online Interactive classroom training session spread over one weekends/weekdays Simulated Digital Marketing practice test Answers and explanations for all the practice questions Learn from an Digital Marketing expert Trainer Get 32 Contact Hours PDU certificate Examination fees included 100% Digital Marketing Exam pass back guarantee Case studies in the classroom training session Life time access to Digital Marketing recorded session Global Approvals and Accreditation Convenient classroom and online courses Courses conducted across the globe Some special offers for you (Offer valid only for Live Online Class- Instructor Led).  Attend Multiples classes till you are Digital Marketing certified Real time recorded session for life time For more information about our Digital Marketing training, please e-mail or Call Now! On +1 (713) 239 3167 | +1 (713) 955 5753 We also deliver onsite training for corporate groups. Contact us for group/corporate discount. 5.00% for 3-4 people 10.00% for 5-9 people 15.00% for 10 and above people Visit us at Digital Marketing Training to know more about our certification training courses in Program Management, ITIL, IT Service Management, Quality Management, Agile, Scrum, and related fields. We conduct Digital Marketing Training courses in Phoenix, Charlotte, Minneapolis, Boston, Chicago, Houston, Phoenix, Chicago, Washington, Los Angeles, Washington, Indianapolis, Dallas, San Diego, Baltimore and Richmond around USA… Please visit us at to know more about our professional certification training courses in India and across the globe. Please Contact Eduklas Solutions LLC: E-mail: or Website: || Call Us Now!: USA: +1 (713) 239 3167 | +1 (713) 955 5753

at Berkeley
3405 Shattuck Ave
Berkeley, United States


Classroom Academy – Dallas

Classroom Academy – Dallas
Event on 2017-06-06 08:00:00
This class is for new users and those who already use Smartsheet but want to learn to work more efficiently in a team environment. Using a combination of presentation, real-world scenarios and hands on activity, this class gives you the tools to successfully build and implement a workflow in Smartsheet and utilize features like reporting, web forms and cell linking to work more efficiently.       Course Outline Smartsheet Essentials Set Personal Settings Creating new sheets Navigation Import Building Hierarchies Creating Columns Formatting Making alignment, font and color changes Assigning number formats Using format painter Applying conditional formatting Web Forms Creating a Web Form Add & Remove Fields on a Form Change Field settings Deploy a Web Form Collaboration Overview of collaboration tools/process Understanding Workspace and sharing User Management Overview Sending update requests Setting Notifications Using discussions Cell Linking Consolidate data across sheets Create inbound and outbound cell links Remove cell links Reporting When to use Reports vs. Cell Linking Use the Report Builder tool Send and schedule reports PM Basics Understanding the Project sheets Using Project Templates Create a project plan utilizing duration and dependencies Apply conditional formatting to a Gantt chart Sights Overview of Sights Understanding Sight design Create a Sight from Sheets & Reports  Using Formulas Referencing cells in Smartsheet Creating formulas with operators Copying formulas and changing the type of cell reference Using SUM and COUNT functions Using the CHILDREN function in hierarchies Understanding Workflows Learn how to design solutions in Smartsheet by connecting multiple capabilities and components See how to diagram a workflow before you start building your Smartsheet Scenario Activity Work as a team to build a Smartsheet solution Apps & Integrations Review the Smartsheet Apps gallery Understand the tools and apps available from the gallery to create charts, merge with Google docs and Google Forms. EVENT INFO DATES/TIMES June 6th: 8am-5pm June 7th: 8am-4pm Light breakfast, lunch and snacks included both days. There will also be a happy hour after the first day. TRANSPORTATION We recommend flying into the Dallas/Fort Worth International Airport or Dallas Love Field Airport. Taxis, shuttles and rental cars are all available directly from the airport which you can use to get to Microtek. If traveling by bus or other transportation, let us know and we can provide more specific instructions. PARKING There are parking in the West Lot and a parking tag can be obtained from the front desk at MicroTek. Parking in the East Lot is restricted for a 2 hour limit.  ACCOMMODATION Microtek offers special rates upon request at this hotel. While making a reservation, request the Microtek rate: Residence Inn – Dallas Sheraton Dallas by the Galleria Hilton Dallas Lincoln Centre DoubleTree MicroTek is in close proximity to hotels at all price points, including: Holiday Inn Express & Suites North Dallas at Preston Residence Inn By Marriott Dallas Park Central Le Meridien Dallas by the Galleria Hawthorn Suites by Wyndham Dallas Park Central Hilton Dallas Lincoln Centre The Westin Dallas Park Central Hyatt Place Dallas-North/by the Galleria For more information about MicroTek, please visit:

6300 E. Kemper Road
Boston, United States


LinkedIn Essentials Training (Class 1 of 5) – Trustpoint’s Classroom

LinkedIn Essentials Training (Class 1 of 5) – Trustpoint’s Classroom
Event on 2016-10-13 14:00:00
The LinkedIn® Essentials Workshop is for new or experienced LinkedIn users. A strong LinkedIn® profile builds your professional brand, increases your credibility, positions you higher in Google® searches, and makes you more attractive to develop relationships, do business with and a more desirable candidate. Regardless of where you are in your professional career, LinkedIn is your tool of choice so why not jumpstart your learning curve.  Everyone needs to be building their LinkedIn presence and network long before a career change.  This program will help you to create a professional, eye catching profile that will put you ahead of your competition. These trainers are not your average social media speakers proclaiming to be experts, they are certified by Integrated Alliances in LinkedIn® and accredited by LinkedIn® as being in the Top 1% Viewed in 2012.  This is not simply a tactical, “hit the buttons” class.  They teach business and business strategy first, with a constant push of marketing you as an individual or selling yourself into your next career move.  Even students coming into class with a relatively large number of connections have left the class with comments about, "I didn't know how beneficial the profile can be until now!"  “Now I’m learning how to think more strategic about how I use LinkedIn instead of just filling in the blanks or hitting buttons.” Takeaways: Top 5 Most Impactful Areas on LinkedIn Profile What are the key areas that form First Impressions – Good and Bad Top 2 Most Overlooked and yet most powerful areas on your LinkedIn Profile Top 7 items to never do on your LinkedIn Profile Workbook / Handouts: Class #1’s PowerPoint Handout LinkedIn Roadmap – Guide to LinkedIn’s menus and organization; navigational path to where features/functions are in LinkedIn; and helps you keep track of the proper ordering of how to work efficiently and effectively in each class LinkedIn Profile Template – complete with best practices, tips, tricks, cautions, restrictions, and how to get noticed or elevate to higher search rankings LinkedIn Strategy and Action Planner – As we proceed thru various areas in LinkedIn and demonstrate how a naïve beginner naturally uses a LinkedIn feature, we then follow immediately with how a savvy LinkedIn user seizes every opportunity to stand out and reap more benefits.  This Planner helps you to firm up your best strategy for using LinkedIn’s features and functionality to achieve your objectives and also keeps track of the tactics to use to build out your strategy into actionable next steps Baseline Tracking Log – you will learn how to track and measure your progress as you work on your LinkedIn Profile in this class and the learning’s in the next LinkedIn Training classes in this series   Prerequisite: You must have a LinkedIn® profile in place prior to the workshop! Please visit to begin your profile.     This is LinkedIn training class #1 in a 5-part series.   Est Duration: 2 Hrs and 30 min.  Register to attend other LinkedIn training at or eventbrite: and search on  "LinkForSuccess" and enter "Dallas" in the location. Generally, classes 1-3 are sold in a combo with a discount and repeated every few months. The 5th LinkedIn class is advanced and only offered when enough students have conquered their learnings’ from classes 1-3. If you would like the discounts of signing up for all 3 classes but have an issue with one of the dates, please contact us for alternative plans.     The Visuals Workshop for primarily graphics such as headshots & videos are not included in this service and is suggested as an additional purchase.   Sales will close 4-12 hours prior to the webinar. Sales for classrooms will close at midnight the night before in order to make the appropriate number of handouts for class. No Refunds.  If you miss class your funds will roll forward to a future class.  If you want to take the series but have/will miss one of the classes in the series, please contact Lucinda. (e.g. If you miss a classroom training you may take the next webinar when available to get back in the series.) For more details contact:             or 972-370-2386                                   Tags:  LinkedIn Training Dallas;  LinkedIn Training DFW;  LinkedIn Sales Training Dallas;  LinkedIn Job Seeker Training Dallas;  LinkedIn Training Addison;  

at Atrium at Bent Tree Atrium at Bent Tree – Suite 160
16775 Addison Rd
Addison, United States


Teen football starts in classroom

Teen football starts in classroom
Imagine a youth football program with study table, kids who know the way to college, and forgetting about the X-Box. Sports Director Andy Baskin found those kids playing outside Brush High School.
Read more on News Channel 5 Cleveland

Pro Football Hall choices will only get tougher
DALLAS — It didn’t take long for the name-calling to start Saturday after the 2011 inductees for the Pro Football Hall of Fame were announced in the spacious ballroom of a downtown hotel.
Read more on Sports Illustrated


Digital Voice Recorders Invade The Classroom

Digital Voice Recorders Invade The Classroom

Digital voice recorders are proving to be a priceless tool for today’s busy college students. Many students are taking their digital recorders to their classes and recording the sessions for later review. The advantage of these recorders is the fact that you can download the recordings to your PC and go over any misunderstood portion or missed portion of the class, lecture, etc.

Since many students also have jobs to tend to and time is tight to study properly they can now go over the material at the time they desire. These tiny recorders can easily store 100’s of hours so storing the entire week or month of classes is no problem, many including time and date stamping.

One very popular recorder is the DP-7074 Media USB Media Pen voice recorder. This actual stylish working ball point pen will record for up to 128 hours of voice making it a super present for the busy student. Another great feature of this recorder is that it is a pen and looks nothing like a recorder. It has an internal rechargeable battery that will last for about 6 hours on a full charge.

To charge you simply connect to your PC’s USB port for a few hours and you are ready to use. You can now find these recorders also as an actual working wrist watch for both ladies and men. Dollar for dollar these recorders maybe one of the best presents you can give a busy student with a tight schedule.

Joseph Hernandez, owner of Security Cameras 911 corp


Article from


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Ten Steps to Successful Music Teaching in the Early Childhood Classroom

Young children learn by doing, by being actively involved in their learning through exploring and experimenting, through copying and acting out. And so it is with learning music, the foundations for which are best learnt while developing primary language. As such, a successful early childhood music program must incorporate movement and should quite naturally involve learning across the curriculum. The music program, therefore, can form the basis for the whole curriculum.

1. Make it Fun. They are not in your class to learn music, but learning music is what happens while they’re having fun. It it’s not fun you’ve lost them. Fun for them may not be fun for you. If it’s not fun for you, you’ll NEVER be able to convince them that you’re enjoying it. You’ll start using every excuse not to do the music session because you’ll see it as a chore. If, on the other hand, you have a song, a piece of music or an activity you think is really cool, you’ll have no trouble engaging the kids as your enthusiasm will carry them through. Sounds pretty logical, yet few class teachers conduct music lessons as part of the daily curriculum. Find a resource that suits you and do something every day – even if for only five minutes.

2. Establish clear rules from day one. Without this your class will quickly disintegrate into a shambles. They must stop when the music stops. This encourages listening skills. Listening is a skill that has to be learnt. Hearing is a sense we are born with. There’s a huge difference. If they can listen, they can respond, and they can learn. Teach them about “space bubbles”. Have them stand with arms outstretched and gently swing around. No-one is allowed to go inside their space bubble. Anyone who does must sit to the side. They will not want to miss out on the fun so encourage them to join in for the next track of music or next activity. Do not allow “time out” to be a preferred option. Not every child will feel confident enough to participate fully but sitting out is not an option.

3. Young children learn by doing. Get them actively involved. Music at this age is music and movement. This will incorporate story telling through use of percussion instruments or drama; it will involve dance and action songs and also singing. It will also involve interpretive movement – play some gentle classical music and use scarves to stimulate the imagination.

4. Include motor co-ordination activities. This will stimulate and integrate right and left sides of the brain. Musical instruments are played with both hands. This subject is the topic of a great body of research. Children today are generally not physically active enough to get sufficient stimulation to establish neural pathways. If you can do something daily in the way of motor skills, especially cross-patterning activities conducted to music, it will help enormously.

5. Relate activities to their level of understanding. Engage their imaginations. They live in a fantasy world ‘ take advantage of it. You personally may not feel inclined towards fantasy. It doesn’t matter. Whatever engages them is what matters. Whatever you are wanting them to learn can be done best by engaging their imaginations, and fantasy is the easiest. Use drama in any way to engage their imaginations.

6. Praise them often. They respond best to positive reinforcement. A baby is born fearless. No matter how many times the baby falls over when attempting to walk, and despite injuries along the way, he or she will get up and try again, over and over until that skill is finally mastered. It never occurs to the child, or anyone else, that you have to get it perfect the first time. Everyone encourages them which is an added bonus. Somehow along the way though, by the time many children are in mid primary school, they have already been given so many negatives which erode their self-esteem that they give up trying new things.

7. Remember the K.I.S.S. principle and Keep It Simple Sunshine. Only do a few activities or songs at a time in your music lesson. Repeat them often and only when mastered do you add modifications or a new activity. Keep the whole lesson simple but fun. Do not confuse simple with easy. If the class structure is simple, you can easily add in a more challenging activity.

8. If the children are unused to music and movement sessions, do not try to be too ambitious. Five minutes a day may be enough for the first few weeks, depending on the children. Repeat the lesson (maybe up to three or four times) until confidence and competence improve. They need the repetition. You can add modifications for greater complexity and variation or change one or two activities before moving onto a new lesson. Set them up to succeed.

9. Initially the teacher should model the movements but not necessarily do all the running around. Choose a child to model for you (or the Teaching Assistant or even a parent) if you prefer not to or are unable to model the movements yourself. Observe the children’s ability to perform the skills in movement, music, drama, listening and social interaction. The music lesson thus contains so many more outcomes. You are then leveraging your time by combining learning areas. That is why the movements need to be modeled appropriately.

10. Finish each session with stretching and relaxation. (Stretches should never hurt.) After a “mat session” music lesson the stretch only needs to be a full body stretch on the floor, after which the children close their eyes and listen to the music. Initially –

Tell them what you want them to listen for, or, tell them a story of what the music is about, or, ask them to tell you what they think the music is telling them.

If you don’t relax the children at the end of the lesson, thus utilizing this time for the affective aspect of music, they’ll be unsettled for the rest of the day, especially if it’s a dance and drama session. When they are used to relaxing at the end of the lesson they will happily lie down and relax but they need to be taught how to first. Each relaxation session, therefore, does not necessarily have to involve active listening but initially it must. Children are sometimes loud and boisterous because they think that’s how they are expected to behave. Give them permission to be still and silent and teach them how. They need it.


Technology in and for the Instrumental Music Classroom


Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.

The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)

Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)

In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included – but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,

The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)

In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)

Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.

Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)

While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.

There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.

Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.

With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.

Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)

SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)

For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.

As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.

Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)

But what of those students not fortunate enough to have a computer at home – let alone internet access?

Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?

David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:

We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)

A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.

There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.

Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.



Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 – 197). US: Gordon & Breach Science Publishers

Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.

Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.

Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.

Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York

Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York

Gargarian, Gregory (1996). The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates

Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.

Rhodes, Stephen L. (2007). A History of the Wind Band – The American School Band Movement. Lipscomb University.

Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.

Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F., Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.

Thomas, David (2003). Internet Access Soars in Schools, But “Digital Divide” Still Exists at Home for Minority and Poor Students. U. S. Department of Education.

Traber, Chris (2007, September). Poor Students Struggle In Class. News.

Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).