Groove In Your

Pocket
Grade Levels: 9th-12th

Gina M. Moore
Course Description:
Students use Ableton Live and non-traditional composition techniques to present
multi-media music presentations in class and in the form of a Tiny Desk Podcast series
broadcasted at the school. At the beginning, students pair up and are given tutorials on
Ableton that lead to composition/produced tracks that are shared in the podcast series.
Students workshop the first draft of their podcast with their peers each week. Each week,
new aspects of Ableton and other compositional techniques are explored through daily
student-centered creation workshops. Individual topics covered include: Creating drum
machines and beats, Hip-Hop fundamentals, R&B rhythm sections, bass lines, special
effects, adding vocals, adding live instruments, utilization of electronic instruments,
writing lyrics, and more! The goal of the class is for students to use technology to create
and explore grooves in all genres, recreate said feel, and make groove inspired tracks and
songs. The culmination of these ideas are presented in the Tiny Desk Podcast series. The
podcast is made available to the school and surrounding community, including
information on community music related to the presented genre. This project-based class
provides students one-on-one collaborations, access to new and upcoming music software
(at no cost to you), and a unique opportunity to collaborate with the community and a
myriad of different musical genres!

Need for Course:

This course gives students the chance to participate in a multi-media participatory
ensemble through a Tiny Desk podcast project (Thibeault, 2015). The process of creating
podcasts involves an understanding of the target audience, creating a pacing that allows
viewers to catch on quickly, and presenting examples that exemplify the style and genre
of choice. Each student's contributions to the podcast portion, collaborations included,
allow for a professional approach to the process of creating multi-media music
presentations with specific goals in mind. The usage of critical thinking, socialization,
and technological skills gives students an opportunity to explore how technology and
societal trends impact the music they listen to on a daily basis. The exploration of the
genres and software gives students a new perspective that validates their music tastes and
the experiences used the create it. It also creates an opportunity for students of all abilities
to create music, especially in scenarios where the instrument/voice and ability hinder
their musical expressions. The use of technology and existing tracks/ideas allows students
to have easy access to familiar musical ideas and expand upon them. The end result is the
exploration of genres through new musical mediums that allows students to create
podcasts that confidently show their musical tastes and bring a critical eye to the music
around them.
By engaging students in project-based learning, the course fulfills the need for
creative collaborative projects that encourage students to solve real life problems that
capture their interests that result in realistic presentations and products for an intended
audience (Tobias, Campbell, Greco, 2015). The overarching project is the creation of a
Tiny Desk Podcast on a selected genre that is shared with the school and surrounding
community. The instructor lays some groundwork, but the content and format of the
podcast is determined by the student groups. The students are engaging in both musical
and nonmusical skills that create multi-faceted learning experiences. By creating real-life
production scenarios, students are engaging in generative questions that stimulate
thinking, grab their interests, and keeps them engaged in each aspect of the project.
Student-centered learning starts with the students and their musical interests. Those
interests do not always lie in the traditional large ensemble model. Students may be
interested in music, but the band/choir model does not validate their musical decisions.
This course provides these students an opportunity to engage in culturally relevant music.
Genres are discussed, but the student-created assignments are not restricted. There are
opportunities for genre cross-overs and critical discussions of genre in the industry. This
leads to real-world application and reflection of concepts discussed in class.
This course also provides opportunities for decolonization and opening up
dialogues about social justice and societal archetypes in music (Bradley, 2006).
Decolonization is a process that engaged imperialism and colonialism at multiple levels,
and involves developing a more critical understanding of the underlying assumptions,
motivations, and values informing various practices (Smith, 1999, p. 20). Imperialism
and colonialism refer to the conquest of native cultures that established heavily
influenced European and/or other cultural norms. Decolonization aims to identify aspects
of Western culture within the culture of a specific community, state, and country while
also working to develop motivations behind these practices. It shines an uncomfortable
light on how society has been sculpted and influences over hundreds of years with
regards to issues of race, social justice and society. While these topics are heated topics in
the current political landscape, it is important that students can work in a space where the
discomfort about discussing race are invoked in order to build understandings. The
classroom is a comfort zone, but it can also be a collaborative space where students share
their cultures and work to create awareness while exploring the society in which they
exist. The podcast project is meant to serve as an exploration of genre as multiculturalism
in the music curriculum. Multiculturalism in music education is currently surrounded by
a strong negative stereotype: Western-views on the world and its music. However, the
course fulfills the need for multi-cultural and culturally relevant teaching in schools that
go beyond the ethical need for more diverse music courses. It gives the students a
world perspective without zooming so far out that the focus is no longer on the student.
By exploring musical genres with flexibility in the creative products, students are
exploring the vast world of music while also viewing the current production landscape
with a critical eye.

Expected Impact on Students:

Skills
Procedure of organizing music and created tracks on Ableton Live
Procedure and production process for podcasts
Creation of art targeted at a specific audience
Design a Tiny Desk project and reflect on your work
Production art of private or public consumption
Team-building in relation to multi-media collaborative projects/assignments
Creation genre-relevant/specific/inspired music
Reflection of creation processes and feedback on the final product
Advertise to a specific audience
Provide constructive feedback
 Knowledge of describing societal archetypes within a specific genre
Knowledge of exploring the musical elements (lyrically or musically) that identify
genres
Knowledge of resources to explore industry based samples and copyright law
Knowledge with regards to identifying genres
Knowledge of examining music as a listener and producer
Knowledge of discussing society and a specific genre
Knowledge of how to present an artistic work
Knowledge of how to construct musical problems that demonstrate an evolving
ability to analyze and synthesize contemporary music
National Arts Standards:
Creating:
o Anchor Standard #1 - Generate and conceptualize artistic ideas and
work.
o Anchor Standard #2 - Organize and develop artistic ideas and work.
o Anchor Standard #3 - Refine and complete artistic work.
Presenting/Producing:
o Anchor Standard #4 - Select, analyze, and interpret artistic work for
presentation.
o Anchor Standard #5 - Develop and refine artistic techniques and work
for presentation.
o Anchor Standard #6. Convey meaning through the presentation of
artistic work.
Responding:
o Anchor Standard #7 - Perceive and analyze artistic work.
o Anchor Standard #8: Interpret intent and meaning in artistic work.
o Anchor Standard #9: Apply criteria to evaluate artistic work.
Connecting:
o Anchor Standard #10 - Synthesize and relate knowledge and personal
experiences to make art.
 o Anchor Standard #11 - Relate artistic ideas and works with societal,
cultural and historical context to deepen understanding.
VA Music SOLs: High School General Music
Music Theory/Literacy:
o HG.1 - The student will read and notate music, including:
1. Notating original musical ideas on the treble and bass staves;
2. Identifying and using the standard notation symbols for pitch,
rhythm, dynamics, tempo, articulation, and expression;
3. Notating music from dictation; and
4. Using contemporary technology.
o HG.2 - The student will compose and arrange music within specified
guidelines by:
1. Incorporating appropriate voicings and ranges; and
2. Using a variety of sound, notational, and technological sources.
Performance:
o HG. 3 The student will perform a varied repertoire of music including:
3. playing instrumental music representative of diverse styles,
forms, and cultures.
o HG.4 - The student will improvise music, including
1. Improvising melodic and rhythmic patterns and accompaniments
in a variety of styles; and
2. Improvising variations on a simple melody.

o HG.5 - The student will investigate characteristics of musical sounds by

1. Employing elements of music, including melody, rhythm,
harmony, form, and texture;
2. Employing technology to explore musical sounds; and
3. Listening to and describing traditional and nontraditional sound
sources.

Music History and Cultural Context:

o HG.6 - The student will explore historical and cultural aspects of music by
1. Describing distinguishing characteristics of musical forms and
styles from a variety of cultures;
2. Identifying ways in which culture and technology influence the
development of music and musical styles;
3. Identifying the relationship of music to the other fine arts and
other fields of knowledge;
4. Researching career options in music; and
5. Explaining ethical standards as applied to the use of social
media and copyrighted materials.
o HG.7 - The student will investigate the role of music in society by
 1. Comparing and contrasting the development of music in diverse
cultures throughout history;
2. Examining various opportunities to experience music in the
community; and
3. Describing the role of technology and social media in the
development of music.
Analysis, Evaluation, and Critique:
o HG.9 - The student will analyze music by
1. Describing music styles and forms through listening;
2. Defining and classifying various musical styles that represent
different historical periods and cultures;
3. Examining the importance of composers use of style, cultural
influences, and historical context for the interpretation of works of
music; and
4. Describing and interpreting works of music, using inquiry skills
and music terminology.
o HG.10 - The student will evaluate and critique music by
1. Examining and applying accepted criteria for evaluating works
of music;
2. Comparing musical performances to similar exemplary models,
using music terminology; and
3. Examining and applying accepted criteria for critiquing musical
performances of self and others.
Aesthetics:
o HG.11 - The student will investigate aesthetic concepts related to music
by
1. Explaining how the context of a musical works creation may
influence its meaning and value;
2. Analyzing and justifying personal responses to works of music;
3. Examining and applying aesthetic criteria for determining the
quality of a musical work; and
4. Explaining the value of music to the community and to society.

Impact on School/Community:
The course is for students, by students. It provides an opportunity to students to
engage in musical and nonmusical skills by connecting and validating their musical
experiences into a multi-media product that is shared with the community. The product
appeals to art, digital media, and mass communication students who want a musical
experience without the instrumental music portion. It gives students of ability levels and
interests the opportunity to be musical, especially if scheduling conflicts arise with
band/choir and their other interests. The first year would give important feedback with
regards to the current musical landscape of the student community. From here, the course
could expand a little further into the genre catalog and create a series where students are
exploring genres through the peer-created Tiny Desk Podcast series.
The positive impact of the critical eyes and creations of the students would
encourage further collaborative efforts school wide. The podcast series could turn into a
Winter and Spring art fairs where the arts and other academic areas collide. For example,
a student inspired by the Ska (a combination of jazz and indie rock) podcast could do a
history/sociology presentation that organizes Ska and its influences into a society
pyramid that shows the progression of societal views with musical elements of the genre.
Another example is a student asking a local dance company to help choreograph a routine
to a student-composed song and present at some point in the art fair. From the podcast
series comes new opportunities for students to engage in music and other artistic
mediums and present them to their peers in a low-stress environment.
When the podcast is distributed to the outside community, students create
connections to community-created music and artistic genres and build positive
relationships between the school and the community. Collaborating on projects at the arts
fair, interviewing local Hip-Hop/R&B groups and producers brings a new light to cultural
relevance of community music and its direct impact on the community. Other pathways
for exploration include a demographic study of the community and the music created for
that specific audience. Exploring why iTunes recommends certain artists in an area can
shine light on what podcasts and presentation would be valuable to the community. In
doing this, students are creating more direct connections to relevant music in their lives
and the lives of residents in the community.
The community around the school benefits from this class because it presents the
next generation of globally engaged citizens. The podcast features students being
creating, critical, and perceptive on the current political and musical landscapes of their
communities with music as a driving force. With these types of citizens, the community
could help these young people lead the way to more conversations about society, race,
and music. These conversations lead to real, impactful change in the students lives and
the lives of their communities.
 Example Unit/Project:

Unit/Project Title: Hip-Hop and The Community

Project Description: This unit introduces the building blocks (Lego pieces) of hip-hop
(melody, hook, bass line, beat, back-beat) and possible form scenarios. Students identify
stylistic characteristics of hip-hop in the 2000s, select a major artist to investigate and
survey, create a hip-hop sample track from the identified elements, and collaborate to
create the 2000s hip-hop Tiny Desk segment. Throughout the unit, students will also
investigate the societal label hip-hop is given and its implications on the artists and
producers in the industry. Geographic areas and socioeconomic statuses influence the
type of hip-hop that comes out of the community/hip hop made for the community.
Students compare and contrast hip-hop music out of Atlanta/Philadelphia (East Coast),
New York City, Los Angeles (West Coast), and Cleveland (Midwest). During this
exploration, students will correlate these styles to the: Target audiences and its relation to
the selection of specific sample selections in the production process, key words within
advertisements, album names, lyrics, beats, and analyze data associated with sales within
different target groups.

Buds Planning Template

Stage 1 Desired Results

ESTABLISHED GOALS with 0
Standards Students will be able to independently use their learning to
HG.1 - The student will read
and notate music, including:
1. Notating original musical T1. Discuss, describe, and reflect upon ones motivations,
ideas on the treble and bass choices, and tastes related to artworks
staves;
2. Identifying and using the
standard notation symbols for T2. Critically explore/investigate cause and effect on artistic
pitch, rhythm, dynamics, tempo,
articulation, and expression; products and their audience
3. Notating music from
dictation; and Meaning
4. Using contemporary
technology. UNDERSTANDINGS ESSENTIAL QUESTIONS
Students will understand
HG.2 - The student will
compose and arrange music that Q1. What audiences, cultural
within specified guidelines by: U1. Many songs are norms, and social issues are
1. Incorporating appropriate
voicings and ranges; and inspired/created for/by their addressed by different genres?
2. Using a variety of sound, geographic surroundings and
notational, and technological
sources. target audiences Q2. How can/are these issues
addressed in our community?
HG.5 - The student will
investigate characteristics of U2. Lyrics are influenced by
musical sounds by target audiences
1. Employing elements of music,
including melody, rhythm,
harmony, form, and texture; U3. Genres are broad
2. Employing technology to
explore musical sounds; and classifications for music
3. Listening to and describing
traditional and nontraditional
sound sources. U4. History shapes the
stories that music depicts
HG.9 - The student will analyze
music by Acquisition
1. Describing music styles and Students will know Students will be skilled at
forms through listening;
2. Defining and classifying
various musical styles that K1. To identify characteristic S1. How to differentiate
represent different historical
periods and cultures; elements within a given genre different types of hip-hop
3. Examining the importance of based on geographic location
composers use of style, cultural
influences, and historical context K2. To describe characteristic using key vocabulary works
for the interpretation of works of features related to hip-hop
music; and
4. Describing and interpreting S2. How to create sample-
works of music, using inquiry K3. To examine genre- based hip-hop background
skills and music terminology.
specific music and compare tracks
HG.10 - The student will and contrast
evaluate and critique music by
1. Examining and applying S3. How to provide positive
accepted criteria for evaluating
works of music; K4. To identify and describe and constructive feedback
2. Comparing musical
3-4 standard elements of a
performances to similar
exemplary models, using music hip-hop inspired track
terminology; and
3. Examining and applying
accepted criteria for critiquing K5. How to use a digital
musical performances of self and
audio workstation to create an
others.
artistic product
HG.11 - The student will
investigate aesthetic concepts
related to music by
1. Explaining how the context of
a musical works creation may
influence its meaning and value;
2. Analyzing and justifying
personal responses to works of
music;
3. Examining and applying
aesthetic criteria for determining
the quality of a musical work;
and
4. Explaining the value of music
to the community and to society.

Create a hip/hop based sample

or track
Anchor Standard #1:
Generate and
conceptualize artistic
ideas and work
Identify elements of a hip-hop
track/song
Anchor Standard #4:
Analyze, interpret, and
select artistic work for
presentation
Operate and use Garageband
Anchor Standard # 3:
Refine and complete
artistic work

Write and research essay about a

topic regarding society and the
hip-hop industry
Anchor standard #11:
Relate artistic ideas and
works with societal,
cultural, and historical
context to deepen
understanding

Evaluative Criteria
Knowledge of the elements
behind a hip-hop tune
Creation of a background beat
Operation and understanding of
how to use a digital workstation
to evoke artistic ideas
Classify and explain artistic
choices used in their
Stage 2 - Evidence
Assessment Evidence
PERFORMANCE TASK(S):
Big Picture: A two to three minute hip-hop inspired song with
accompanying graphic that includes:
One student-created hip-hop sample
Student written lyrics/instrumentals
Blurb about artistic choices used/justification for the
hip-hop label that includes target audience and specific
musical examples (i.e. using vocabulary words and
specifically identifying them in the tune and their
general function).
Graphic that shows the elements/influences from 1-2
compositions
Responsive to critical feedback
Ability to give critical feedback
Knowledge of how genres vary
under a broad title
Critical analysis of a genres
geographic and socioeconomic
influences
Critical analysis of societal
implications of hip-hop and its
geographic locations discussed in class
Post-submissions will be a Google form for anonymous
feedback.
Task 1: Creation of one hip-hop sample (beat, bass drop, intro,
interlude, etc.)
Task 2: Identification of elements of a hip-hop track
Task 3: Research 1 geographic area and the influences on
community hip-hop
Task 4: Identification/argument of elements in 3-4 different
geographic areas
Task 5: Creation of lyrics aimed at a target audience in one of
the 4 geographic areas at 1) upper middle class audience and 2)
lower class
Task 6: Creation of the hip-hop track
OTHER EVIDENCE:
Creation of the hip-hop sample
Creation of the hip-hop inspired track
Critical essay on hip hop and a specific geographic
community
Feedback on sample through an anonymous google
form
Addition of samples/tracks into digital portfolio
Brief written justification for music making decisions
Quiz on elements of a hip-hop track
Short answer (1-3 questions max) quiz on elements hip-
fan base hop tracks from different areas

Stage 3 Learning Plan

Summary of Key Learning Events and Instruction (these would be the summaries of the actual
experience designs: Outline a project for 6+ days
Day 1: Introduction
Music making experience with hip-hop: Freestyle improvisation. People jot down a few ideas
about the track. We dig deeper into a selected track and create a sketch of a potential track.
Explore hip-hop as a genre by using my sample project. Present the big picture to encourage
student exploration in this unit! To create a more comfortable atmosphere, each student will be
tasked with bringing in one hip-hop track from their library and bring in a pre-sketch.

Day 2
Introduction of elements of the hip-hop track elements: Visual activity with cited examples from a)
music on the living class playlist OR b) personal library. Add building blocks to song sketch.
Student comfort will be encouraged by taking the names off the hip-hop tracks brought in and
putting them on shuffle. Students will be tasked with answering the question, Is this track a
hip-hop track or not?. This guided questions will lead into visual activity of the hip-hop map we
will build over the course of the unit.
Workshop Day 1: Get a bass-line or beat into Ableton.

Day 3
Introduction of the hip-hop map of the activity with examples and discussion of geographic and
societal influences in relation to lyrics and beats. Choose a region. Create a sample (4 - 15
seconds) based on a track element. The class analyzes the lyrics of a specific song (on our living
class playlist) and try to place it in a region as an opening activity. A song that is on the fence
between genres and see where students put the tune.
Workshop Day 2: Backtrack if students need to add a bass line/beat into Ableton. Moving
forward: add one instrumental track into Ableton (using Ableton samples).
Day 4
2nd level discussion of the hip-hop map and relate it back to empirical data about sales to target
audiences. Students receive 2 samples to give feedback and make suggestions for use in other
songs (HW). Begin writing out hip-hop track using the pre-sketch brought in the first day of class.
Workshop Day 3: Backtrack is students need: bass line/beat or instrumental tracks. Moving
forward: use feedback to edit and proceed to writing a rough draft of the spoken
word/instrumental/lyrics to the tune. If a student wishes to use a different form of media for the
melodic content, it must be discussed and approved by Workshop Day 4.

Day 5
Workshop Day 4: Edit/revise small rationale/inspirations in pairs. Begin to formulate blurb about
the implications of your tune and a possible community/audience. Backtrack if student needs bass
line/beat, one instrumental track, or some form of melodic material.

Day 6
Workshop Day 5 - incorporate elements from the Lego activity and hip-hop map and its
implications on the tune in production. Write rough draft of blurb about the tune and explain some
societal stereotypes it would encounter and the targeted audience. The blurb includes evidence
from the tune that links it to a geographic area or aims to reach a certain audience. The class will
use the living playlist and analyze the stereotypes we feel/imagine when listening.

Day 7
Workshop Day 6: Backtrack for any students needing bass line/ beat, instrumental, melodic
content and continue edits/revisions to the rationale and graphic. The next two classes are meant to
get everyone on track/collaborating on additional elements of the project if moving forward is
needed.

Day 8
Workshop Day 7: Students have one more day to add/revise to the six elements of the project. In
the middle of the class period, I will discuss effects to explore and introduce adding vocals into
Ableton. This will be done as a group demonstration and then an individual station will be set-up
for recording (if the students are prepared).

Day 9
Workshop Day 8: As a class, we continue to explore effects in Ableton and rhythmic interplay
with the push pad. Teacher provides workshop assistance as students begin/continue recording.

Day 10
Workshop Day 9: Students wrap up recording and place their final edits on their tracks. If
students are finished, they can continue to edit their blurb and graphics for final submission.
Projects will be due the following week after class (in case anyone needs more time for recording)
through an online submission.

ADAPTATIONS & MODIFICATIONS What changes related to color, size, pacing, and
modality will you need to make available overall? How can you increase or decrease the
challenge/complexity while retaining focus. Be specific and provide examples.

Size - Re-sequencing the hip-hop track and visual mapping projects into smaller chunks
based on the student's progress
o For example: Create a visual map of the Lego pieces of the hip-hop track using a
dry erase board, create the lyrics and then the beat for the hip-hop inspired track
assignment
Color - Assignments are color coded in the tabs, a transparency screen is placed over the
computer screen to reduce visual stimuli, brightness on the computer is turned down
o For example: The samples in the overarching hip-hop track are color coded by
element (beat, melodic material, accompaniment)
Pacing - Letting the student set the pace for large unit projects, breaking down projects
into smaller, meaningful chunks
o For example: Create a sequence with the student for the portfolio, larger parts are
built throughout the semester at a discussed pace
Modality:
 o Visual - Physical paper copies of assignments/ instructions for working the
software. Dry erase board with tasks mapped out in order, dry-erase visual Garage
band, where the student's visual arrangements are sung/written up.
For example: Create a Velcro board with song titles that allows students to
paste the song on the board
o Aural - earphones during group planning and collaborative segments
For example: Ear phones to adjust the volume when listening and giving
feedback on assigned hip-hop tracks
o Kinesthetic - DDR board where the students are moving to create the samples,
Makey-Makey that utilizes movement as a compositional tool, Skoog is
implemented so the student can compose and arrange with elements of their own
choosing
For example: DDR board is used to create the background beat and/or fill
for the hip-hop sampling assignment
EXAMPLE END OF PROJECT ASSESSMENT RUBRIC:
Hip-Hop Song Project (via Folder sharing in Google Drive)
This assignment will be out of 16 points

Criteria 1 2 3 4
Info graphic Information is Information is Information Information
not clearly sparingly presented mostly presented
presented with presented with analyzes topics completely
relation to topics relation to topics discussed in synthesizes
discussed in discussed in class and topics discussed
class. Rationale class. Rationale provides a in class and
is not condensed is condensed, but mostly supported provides a well-
into main ideas is supported by condensed supported
of the written very specific rationale. The condensed
blurb. Any evidence. rationale is rationale that
musical evidence supported some demonstrates
whatsoever does specific evidence clear-specific
 not support with regards to thinking about
rationale. the music musical
making process. decisions made
in the creation
process.
Student- The sample is The sample is The sample is The sample is
produced sample not present in the present in the present in the present in the
track and the track, but the track, with the track, with the
rationale. The rationale rationale/info rationale/info
student does not minimally graphic graphic
reflect on the explains the moderately thoroughly
creation process significance and explaining its explaining its
or the influence on the significance and significance and
significance of tune. The student influence on the influence on the
the created does not reflect rest of song rest of song
track/sample. upon the creation before, during before, during
process of the and after the and after the
sample. creation process. creation process.
Blurb The rationale The rationale The rationale The rationale
accompanying accompanying accompanying accompanying
the info graphic the info graphic the info graphic the info graphic
does not explain somewhat explains the thoroughly
the creation explains the creation process explains the
process and creation process and motivations creation process
motivations and motivations behind the track. and motivations
behind the track. behind the track. Ideas behind the behind the track.
Ideas behind the Ideas behind the track are Ideas behind
track are not track are outlined, but not track creation are
outlined nor minimally critically flushed out and
critically outlined, but not reflected upon. reflective of the
reflected upon. critically individuals
 reflected upon. process.
Feedback Feedback is not Feedback given Feedback given Feedback given
given. There are is not very is mostly is very specific,
no questions that specific; there specific, including
challenge student are no questions included specific
improvement at any point that questions for questions for
and challenge student further further
development. improvement improvement improvement
Writing is not and and and
professional in development. development. development.
tone. Writing is mostly Writing is mostly Writing is
not professional professional in professional in
in tone. tone. tone.
 Budget:

Use
Item Name (How will this be used by Cost Quantity Overall
(linked to provider) students/teacher?) (per unit) Cost

Vocal Microphone Use in the podcast creation $99.95 2 $199.90

https://www.sweetwater.com/store/ and in the production stages
detail/E835 of the individual track
projects

Instrument Microphone Use in podcast creation and $54 2 $108.00

https://www.sweetwater.com/store/ production stages of
detail/PGA57 individual track projects

Microphone cables Use in podcast creation and $20 4 $80.00

https://www.sweetwater.com/store/ production stages of
detail/BPBQXM10 individual track projects

Filter Use in podcast creation and $49 2 $98.00

https://www.sweetwater.com/store/ production stages of
detail/IsolationPk individual track projects

PA System Use in student listening $199 1 $199.00

https://www.sweetwater.com/st activities, production of
ore/detail/MPA40BTPRO podcast, and sharing of
music in class workshop
times

Video Camera Use in podcast project $249.99 1 ~ $250.00

https://www.sweetwater.com/st only
ore/detail/

Abelton Push Software Use in genre tracks and $1068* 1 ~$1,068.0

(Standard) personal portfolio use 0
https://www.ableton.com/en/sho only
p/education/

Microphone Stands Use in podcast creation and $24.95 4 ~$99.80

https://www.sweetwater.com/st production stages of
ore/detail/MicStdFBoomL individual track projects

Total Cost: $2,102.70

* This is a discounted price form retail value. Abelton offers Education discounts
up to 40% off if applicant shows status of employment as an educator or full time
student.
Grant Information:
o Name Project Enrichment Grant
o Provider Music Teachers National Association
o Link http://mtnafoundation.org/mtna-grants/program-enrichment-
grants/program-enrichment-grant-guidelines/
o Requirements/Criteria
Has a history of success in creating new music makers
Reaches adult learners as well as young people
Is not solely achievement-based (that is, designed to encourage
life-long music participation rather than high-level performance)
Can be reproduced in other places with other leadership
Is capable of attracting greater funding from larger organizations.
Application information includes:
Purpose of Project
Brief History of Existing Project
Well-Developed Implementation Plan
Personnel Required
Anticipated Sources of larger funding (provide name of
source and amount that will be requested)
Organization Profile (Word for PDF document to be
uploaded)
If applicant is MTNA affiliate, include the following:
Membership Makeup
Community Visibility
Member Participation in Association Activities
Activities Sponsored by Association
If applicant is not an MTNA affiliate, include the following:
Mission Statement
Brief Summary of Organization's Activities
 References/Work Cited:
Bradley, D. (2006). Music education, multiculturalism, and anti-racism can we
talk? Action, Criticism, and Theory for Music Education, 5(2), 2-30.

Smith, L. T. (1999). Decolonizing methodologies: research and indigenous peoples

(London, Zed Books).

Thibeault, M. D. (2015). Music education for all through participatory ensembles. Music
Educators Journal, 102(2), 54-61

Tobias, E. S., Campbell, M. R., & Greco, P. (2015). Bringing curriculum to life: Enacting
project-based learning in music programs. Music Educators Journal, 102(2), 39-
47.