FA199 Seniors Creative Project

Submitted by:
Nicole Ernestine M. Severino
BFA Information Design 2011
Ateneo de Manila University
5 INTRODUCTION
11 PROJECT BACKGROUND & HISTORY
15 REVIEW OF RELATED LITERATURE
25 SCOPE & LIMITATIONS
29 INFORMATION DESIGN THEORIES & CONCEPTS
35 METHODOLOGY
49 PROJECT PROPER
63 OUTPUT & DOCUMENTATION
67 REFLECTIONS & RECOMMENDATIONS
CONTENTS
5
INTRODUCTION
6
INTRODUCTION
Drums have helped shaped cultures and are heard in most musical genres. They
can be a means of self-expression and they encourage the imagination and promote
creativity. The problem with attempting to learn how to play the instrument is that most
of the learning resources available tend to be text-heavy, intimidating and lacking that
visual pull to keep the learner interested. Drumocracy aims to solve the disconnection
between the learner and the learning material through design. The project promotes
a visual-based learning system with its very own ColorBeats method. It also aims to
be a learning resource that is designed to be both visually appealing and effective in
communicating and seeks to encourage the learner to enjoy the learning process as
well.
Musical instruments have helped shape cultures since ancient times as tools for
communication, rituals and ceremonies among others. One instrument with a great
impact on musical history is the drum. Dating back to 6000 BC, the drum has been
prevalent in ancient civilization, particularly in African culture. Drums have a major role
in their everyday lives as part of their religious practices and the expression of their
culture. It was during the slave trade when drums spread its inuence from Africa to
America.
The modern drum set only emerged in the 1900s when the Ludwig Drum Company
perfected the bass drum pedal, which allowed for the bass and snare drum to be
played at the same time (Mattingly, 2003). From then on, other components from
different cultures that made up the drum kitcymbals from Turkey and Chine, tom-
toms from China, and other percussion instrumentswere gradually added over time.
Popular music genres1930s jazz, 1940s bebop, 1950s rock n rollalso affected the
standard 5-piece drum set set-up that is known today.
These days, drums remain to be one of the most popular instruments. Rock n roll
played a major role in the publics growing interest in the instrument, particularly punk
rock of the 1970s and the rising popularity of music videos in the 1980s thanks to
Music Television (MTV). Rock musics popularity is also reected in its potency in
music sales. According to the Recording Industry Association of Americas (RIAA) 2008
consumer prole, rock music has consistently been the dominating genre in music sales
from 1999-2008.
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The instruments popularity has also expanded to other forms of media over the years.
The 2002 lm, Drumline, was surprisingly successful at the box ofce both in the U.S.
and in foreign markets. The drum kit is also featured as one of the playable instruments
in the immensely popular game, Rock Band. With the continuing rise in popularity of the
genre comes the growing interest of the public, particularly the youth, in the instrument
and in learning how to play it.
Learning any instrument requires much effort and learning how to play the drums is no
different. It is a prevalent notion that formally studying this instrument is more preferred
than being self-taught, especially if one is seriously considering taking up the instrument
as a profession. Ironically, a large number of the undisputed best in the business are
actually self-taught including Dennis Chambers (Dennis Chambers, n.d.). A number
of drummers in rock bands today also did not undergo formal learning. Some of these
famous names include The Red Hot Chili Peppers Chad Smith (Warner Brothers Pub.,
2003), Led Zeppelins John Bonham (Welch & Nicholls, 2001), The Whos Keith Moon
(Keith Moon, 2006), Metallicas Lars Ulrich (Lars Ulrich, 2010), and much more.
The author attempted to assess which learning method is better for this instrument
through published articles, online forums and interviews and has concluded that there
is no general consensus on the matter. Both methods have their own advantages and
disadvantages and it is, more often than not, a matter of preference that varies with
each learners needs.
Regardless of which type of education is preferred, what everyone can agree on is the
importance of the learning process. There is no instant Ringo Starr; learning resources
are a must. There are a multitude of resources, paid and free, available for an aspiring
drummer. Thanks to todays technology, these resources can also be accessed in the
comfort of ones home through the world wide web. There are books, e-books, DVDs,
CDs, YouTube videos, websites and so much more available with a click of a mouse.
But even with these advancements, a good book would still be the ideal and more
credible source for knowledge. And there are indeed numerous books and printed
materials that tackle drum education, covering topics from the most basic skills to
the more advanced concepts. The problem is that these books tend to be text-heavy
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and do not communicate effectively with the reader; in some cases they can also be
intimidating. This lack of communication between the reader and what is being read
affects the learning process greatly because visual communication is crucial in any
learning process. Most books relating to the topic focus mostly on the content and never
enough on the presentation. Even books from some of the greatest drummers like Steve
Gadd and Dennis Chambers lack that visual pull to keep the reader interested in what
they have to say.
Drumocracy aims to solve that problem of disconnection between the learner and
the learning material in order for the learning process to be encouraging rather than
intimidating. Therefore the output of this thesis project will be a set of paraphernalia
covering the essentials every aspiring drummer must know. Its main components are
a book, an instructional DVD, and a set of CDs. It also includes a music notebook,
ColorBeats markers, and a pair of starter drumsticks.
This projects target market includes young men and women, from pre-teens to early
twenties, who have little or no knowledge of playing the drums and who wish to learn
the instrument through self-learning. The primary goal of this project is to be a valuable
learning resource that is visually appealing and effectively communicating at the same
time. Like any other instrument, learning how to play the drums takes hard work,
passion and time. Drumocracy seeks to encourage the learner enough to keep working
while also enjoying. The challenge of this project lies in how to effectively present
this type of data in a unique and creative way while working on its effectiveness in
communicating at the same time.
Resources used for the completion of the project include existing books on the topic
and research on the best methods to teach, taking into account new forms of media
available. What content is or is not necessary to be included in the project was also
needed to be determined. Drum equipment such as a drum set, drumsticks, cymbals,
and a metronome were necessary for the photo and video footage used in the project
and also for testing the output. For the production of the instructional DVD, a video
camera and video editing software were used. A professional drummer was asked to
provide the live demonstration to be lmed for the DVD.
INTRODUCTION
9
As previously mentioned, this project covers the essentials in learning the instrument.
The book includes the different parts of the drum set and how to set them all up,
introduction to reading drum notation, and various topics that most books on the topic
do not include like choosing drum sticks, possible accessories, drum maintenance,
tuning, and more. The DVD includes instructional videos on basic beats and patterns.
Since Drumocracy operates in a similar philosophy with its names origin, democracy,
allows the learners to choose for themselves in various drum-related aspects. For
example, which method of learning is better suited for them: if they want to learn drum
notation or if learning by ear is enough for them. Their choices will depend on their
personal preference and on how they will be applying the instruments in their lives.
The projects target market mostly consists of people who will end up playing the
instrument as a hobby instead of a profession therefore the project will not stress too
much on the importance of notation. Apart from the manual and the DVD, Drumocracy
will also include other materials that might be helpful to the learner such as a pair of
starter drumsticks.
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PROJECT BACKGROUND & HISTORY
12
PROJECT BACKGROUND AND HISTORY
The authors personal experience with the instrument served as the
main inspiration and motivation for this creative project. Learning the
very basics from a young age and self-taught after, drums were an
integral part of the authors growing-up years. Despite wanting to
learn more advanced techniques or even basic notation, the resources
available were not very endearing and so the author relied on playing
by ear and by imitation instead.
For most people, it they dont even get to go as far as notation to be
intimidated. A lot of people nd the instrument itself very intimidating.
It could be because of the instruments size, or the number of parts it
has, or that it has to be played with all four limbs at once. Some are
worried about their lack of hand-eye coordination or rhythm. Although
hand-eye coordination does not come naturally to everyone, unlike
rhythm, it does not mean in cannot be trained. The old saying of
practice makes perfect is especially true when it comes to learning
any instrument, even the drums.
There are numerous resources using different forms of media that
deal with learning the drums. Most are books that are text-heavy
and focus heavily on drum notation. There are also DVDs with video
tutorials that have a professional drummer speaking and showing how
the instrument is played. More recently is the emergence of learning
resources found on the internet.
Learn and Master Drums by Legacy Learning Systems offers a set
that includes a book, DVDs and play-along CDs. The series covers
topics that range from the very basic concepts to the most advanced
techniques. Everything found in the lesson book is shown in the
video tutorials and can also be heard in the play-along CDs. The
lessons are meant to be learned within specied timeframes (i.e.
The estimated time to learn the Rudiments is a month). Like most
drum-learning resources, this series also emphasizes the importance
of reading music and has most of its lessons include notation. The
videos include which beat/pattern is being played at the moment as
well.
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Picture Yourself Drumming is another drum book with good
reviews. This book stands out from most drum books because the
author speaks in the rst person point-of-view and cites personal
experiences instead of generalizations when speaking about the
instrument. At the very beginning of the book, the author states
clearly that the book is targeted at people who love to read which
is why the book is quite text-heavy with a few accompanying
illustrations and photos. The books content is indeed very useful and
easy to understand but the fact that it relies mostly on reading to be
able to learn already limits its target audience.
Using colors in learning other instruments like the piano and guitar
is nothing new and have been applied in different learning methods
as well. These learning methods claim that using colors encourages
students, especially the younger ones, to learn and have fun at the
same time.
There are also numerous learning resources that can be found on
the web. A website, aptly titled Free Drum Lessons (http://www.
freedrumlessons.com), offers a large amount of video tutorials
covering different aspects and concepts related to drumming. The
problem with learning through the internet is its mobility. It is difcult
to nd a place for the laptop near the drumset and printing out
individual lessons can be costly and tedious.
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REVIEW OF RELATED LITERATURE
16
REVIEW OF RELATED LITERATURE
MUSIC EDUCATION
Music education has evolved with the times and continues to broaden and diversify
until today. With the constant emergence of new methods of learning music, identifying
objectives in music education has become vital. It is through the realization of objectives
that music instruction becomes meaningful (Colwell & Goulsby, 1992). These objectives
must encompass everything that music isan art, an experience, a skill, and an activity.
Moreover, music and its education continue to evolve, numerous sources of education
have emerged: private lessons, private schools, college and university, and most
recently, educational media (King, 2009). The rst three are in line with the traditional
way of learning music involving specialized programs and formal training. Educational
media, on the other hand, includes the pool of self-learning tools that have become
available both online and ofine. Technology has indeed broadened the resources
available for music education.
Through formal education, one is able to learn the basics from the beginning. There is a
systemized way of learning techniques, theories and reading and writing drum notation.
The biggest advantage formal education has is the presence of a mentor. Some of the
advantages of having a mentor include being able to ask questions directly with quick
response time and having bad habits corrected. On the other hand, one of the supposed
major drawbacks of having formal education is having ones creativity limited. Another is
the costliness of having lessons, which are usually paid by the hour.
With informal education, one is free to look for sources and progress at ones own pace.
They do not need to learn drum notation if they prefer not to and if they think playing
by ear is enough for them. Informal education is also much cheaper. The disadvantages
to informal education include the possible development of bad habits with no one to
correct, what you learn and what you will not learn will depend entirely on yourself.
When the interest arises, it can be said that it is more practical to have informal
education rst and have the choice to have formal education later; its never too late to
learn after all. And if drumming is something to be developed just as a hobby and not as
a profession, one should choose what method would be better suited or more preferred.
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Becoming a drummer is by no means a cheap hobby; just the basic equipment will cost
a considerable sum of money. Signing up for lessons can be expensive as well. What
is valuable about being self-taught is that what drives one to learn is ones self, not
parents or peer pressure. But the most important element in music education, whether
formal or informal, is the learners self-discipline: if one is unable to master oneself, he
cannot master an instrument.
In the book Music, Informal Learning and the School, Lucy Green touches on
incorporating informal music learning practices into formal music education (2008).
She says that by doing this, a range of musical skills and knowledge that have not
previously been emphasized in music education [can be recognized and fostered]. She
conveys that learning in the absence of a master musician in a learning environment
results in a large amount of solitary learning wherein the learning process is largely in
the hands of the learners themselves (Green, 2008). This kind of learning enhances
motivation and enjoyment, two very important things that are difcult to capture in a
formal educational setting. Also, informal learning allows the learner to choose music
that they like and identify with. Moreover, skills and knowledge are understood and
interpreted in their own personal ways. In her conclusion, she states that the learner
would miss out on essential aspects of music if this were the only way he learns
therefore somehow combining the two methods would probably yield more desirable
results. For this project, what the author is trying to do is the opposite of what Green is
attempting: incorporating formal music education into informal learning practices for a
better learning experience.
Peter Mak, a member of the lectorate Lifelong Learning in Music, tackles the changes
in the musical profession and its effects on education (2008). He explores the various
learning contexts relevant to musicians training: formal, non-formal and informal. He
denes (1) formal learning as learning that occurs within an organized and structured
context that is explicitly designated as learning; (2) non-formal learning as learning
that any organized educational activity that takes place outside the established formal
education system; and (3) informal learning as learning that contains unplanned and
planned learning activities resulting from daily life situations (Mak, 2008). For this
project, the output will apply to the informal way of learning. This kind of learning is
highly related to the personal motivation of the learner, which is one of the things this
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project aims to address. Also, this kind of learning does not have a curriculum-dened
structure and its objectives formally dened. Mak also cites Lucy Greens How Popular
Musicians Learn in his denition of informal learning. He goes on to say that this kind of
learning is one that is without interference of any kind of educational authority, learning
without a teacher. Every aspect of learning is controlled by the learner and fueled by
personal motivation.
VISUAL COMMUNICATION
One of the projects goals is to effectively communicate with the learner since a
common feature found in drum-related instructional books is their text-heaviness and
lack of illustrations. Presenting learning materials through mere text tends to reduce the
efciency in learning due to the excessive amount of information the learner encounters
all at once. There have been studies that show improvement in learning through the
utilization of visuals with textual information. (Kuzu, Akbulut, & Sahin, 2007) Multimedia
research as early as 1982 support the notion that adding pictures to text has signicant
effect on learning, but stressing that an illustrations relevance to the text plays a vital
role. (Bruny, Taylor, Rapp, & Spiro, 2006).
In Multimedia Learning, American educational psychologist Richard E. Mayer stresses
on the importance of cognitive learning and the importance of multimedia in education.
According to Mayer, when text is accompanied by pictures, learners are able to
construct both verbal and pictorial mental schemas and build connections between
them. (Mayer, 2000) He presents the Cognitive Theory of Multimedia Learning that
stemmed from various related theories. Allan Urho Paivios Dual Coding Theory states
that cognition is based on two interdependent systems that specialize in different areas:
(1) verbal information (text and speech) and (2) non-verbal information (graphics and
animation). Meanwhile, Chandler and Swellers Cognitive Load Theory operates on the
presumption that it is easier for the learner to absorb new information if the teaching
method reduces demand on memory. The two aforementioned theories are fused into
Mayers Generative Theory, which include the principles: (1) dual-channel assumption,
REVIEW OF RELATED LITERATURE
19
(2) limited-capacity assumption and (3) active processing assumption (Kuzu, et al.,
2007). Basically what the Generative Theory asserts is that learners are able to learn
and absorb information more efciently through words accompanied by pictures than
from words alone.
TEXT
TEXT
BASE
VERBALLY
BASED
MODEL
ILLUSTRATIONS
IMAGE
BASE
VISUALLY
BASED
MODEL
Selecting
Words
Organizing
Words
Selecting
Images
Organizing
Images
Integrating
MAYERS GENERATIVE THEORY OF MULTIMEDIA LEARNING
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Assessing the different drum books available, most of them contain mostly text while
a select few include images as accompaniment as well. But, more often than not,
although these images are related to the topic, they are there for decorative purposes
instead of instructional purposes. In order to assess an images purpose, Mayer also
classied visuals found in instructional materials into the following categories: (1)
decorative, which is aimed to entertain not to instruct, (2) representational, which is an
exact visual description, (3) organizational which depicts relationships among elements,
and (4) explanative which shows how systems work. Apart from categorizing visuals,
Mayer also proposes some design principles mainly for annotated illustration but a study
by students from Anadolu University on constructing an evaluative tool for course-books
were able to adapt these principles so that they could be used for any visual found in
instructional materials. These principles state that a books design should be,
REVIEW OF RELATED LITERATURE
1. CONCENTRATED The key ideas of the subject-matter should be highlighted both in the
illustrations and in the text through using underlining styles, appropriate font sizes, font colors and styles,
highlights, and arrows.
2. CONCISE In order to prevent redundancy, extraneous descriptions should be minimized in the text
along with extraneous visual features such as unneeded colors and details.
3. CORRESPONDENT Corresponding illustrations and text fragments should be presented near each
other on the very same page.
4. CONCRETE The text and corresponding illustrations should be delivered in ways that help learners
visualize the learning material easily.
5. COHERENT The presented texts and pictures should follow a consistent, clear and coherent
structure. Thus segments explained in the text should be explained similarly in the picture. The text and
the picture should have the same organizational structure. Finally, the structure followed in the text, say
cause-effect, should be supported with the illustrations as well.
6. COMPREHENSIBLE The text and illustrations should be familiar to learners so that they could
apply relevant past experiences to understand the material.
7. CODABLE Key terms in the text and key features of the visuals should be used consistently in ways
that can make them more memorable.
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Due to the various technological advancements over the years, multimedia
learning is no longer limited to images found in books. Visual education has
taken one step further through the use of videos in education. Videos provide
a more advanced and powerful way to improve learning but how learners will
process what they have been shown can be unpredictable due to the complexity
of the medium. (Beitzel & Derry, 2009) There have been studies in the past
that demonstrate the advantages of multimedia compared to single-format
presentations (Bruny et al., 2006). A recent study on assessing the impact of
interactive video on learning effectiveness shows that a videos effectiveness
on learning is determined by the presentation of its interactivity (Zhang, Zhou,
Briggs, & Nunamaker, 2006). The study concludes that a videos interactivity
with the learner has signicant effects on the results on the learning process.
This was seen in the results of their experiment that showed students who were
provided with interactive videos not only had better performance in learning
but also a higher level of satisfaction compared to students who underwent the
traditional classroom environment. A notable result of their experiment is the
lack of improvement in students who were provided with non-interactive video,
further emphasizing the importance of interactivity in videos used for education.
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REVIEW OF RELATED LITERATURE
COLOR AND SOUND
The relationship between color and sound has been given much thought since the time
of the great philosophers Aristotle and Pythagoras. There have been numerous theories
and analyses produced from examining works of modern art and music. Michael Poast,
in his introduction to Color Music: A Visual Color Notation for Musical Expression,
presents the idea that color sensations can trigger correlations to musical sound
(2000). He also discusses the musical meaning of color by citing experiments done
wherein musicians interpret colors similarly (i.e. yellow is associated with a high pitch).
He also touches on the history of visual notation dating back to the time of Aristotle and
points out that color played a role in establishing the notation we know today.
Color-sound relations have also been applied in teaching music. Dont Fret Productions
and ColorKeys Music offers alternative pedagogies of learning the guitar and piano,
respectively, by utilizing the relationship between sound and color by applying colors to
corresponding notes.
25
SCOPE & LIMITATIONS
26
SCOPE & LIMITATIONS
This project covers the essentials every aspiring drummer needs to know. What these
essentials are were dened through intensive research from various sources. Drum
notation is included but is not stressed as a must-learn aspect. Learning to read (and
write) drum notation is an important skill for every drummer, amateur or professional
but some may not opt to take it up due to its tediousness, seeing as learning notation
is similar to learning a new language. Although learning to play by imitation is not
impossible, learning drum notation will be a huge contribution to ones maturity as an
artist and will eventually aid in the search for ones personal style. Drumocracy leaves
it up to the learner whether he wants to pursue this or not but also encourages through
the utilization of the projects very own ColorBeats method. The project also includes the
different genres of music that serve as introductions and not comprehensive lessons.
The author cannot assume which style is most suited for the learner therefore the
learner, through these introductions, will discover for themselves which style they would
like to explore and learn more in.
In addition, the other topics that make up the book include tips and how-tos on
important aspects related to drumming. Choosing drumsticks and cymbals as well
as other additional components to ones own drum set is included. Also, cleaning and
maintenance of the instrument as well as tuning is also covered.
What these series paraphernalia does not cover is where to purchase the equipment
needed, which brands are better and where are they cheaper among others. The
author also assumes that the reader has either the nancial ability to purchase his
own equipment or access to the equipment needed. The project does not make empty
promises of the learner achieving great heights in learning the instrument within a
specied timeframe. Since this projects target market include those who plan to
undergo informal training through self-learning, it will serve as a guide for the learner.
This project is not meant to be used as a resource for formal training. It is to be used by
the learner and not in a teacher-student environment.
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INFORMATION DESIGN THEORIES & CONCEPTS
30
INFORMATION DESIGN THEORIES & CONCEPTS
BRANDING & TYPOGRAPHY
Drumocracys logo features a closed st holding a pair of drumsticks enclosed in a
circle with seven dots encircling the circle. The logo symbolizes the power a self-learner
must have in what he/she is learning. The drumsticks are literally and guratively in the
drummers hand. The st is enclosed in a circle with dots around which stand for the
bass drum and its tension rods. The logo stems from the etymology of Drumocracy
coming from the word democracy wherein the power lies with the people, Drumocracy
allows the learner know his/her options and choose for themselves.
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The typeface used in the logotype is ChunkFive. The section headings found in the book
used League Gothic, while the subheadings used either Kautiva Pro Black or Kautiva Pro
Bold. The books body text used Helvetica Neue Condensed.
&)*+,-./0
ChunkFive is an ultra-bold slab serif typeface reminiscent of old American Western
woodcuts, broadsides, and newspaper headlines. It is mainly meant to be used for
display. Its thick block lettering is unreserved yet rened for contemporary use. This is
inline with the message that the logo and the rest of the project aims to show: while the
project is designed to be fun it is still meant for learning.
League Gothic
League Gothic is a redesigned version of another classic typeface, Alternate Gothic
No. 1, by Morris Fuller Benton. The original font was mostly used on billboards and
newspaper headlines. It is used in all caps in the books headers and in the DVDs as
well.
Kautiva
Kautiva is a modern sans serif type that was developed to be efcient in both text and
display environments. Versatile in its functionality, Kautiva both readable and edgy,
perfect for Drumocracys aesthetic.
Helvetica Neue Condensed
Helvetica was created to be a neutral typeface that had great clarity and no intrinsic
meaning in its form. This neutrality works as body text and allows the subheadings to
stand out more.
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INFORMATION DESIGN THEORIES & CONCEPTS
VISUAL INTERFACE
Because Drumocracy takes on a visual-approach to learning, the visual interface of
both the book and the videos are vital to the projects design as well as its efciency.
Balance of all the elements in each medium is most crucial to the overall efciency of
the designs. This visual balance also needs to be able to communicate well with the
reader or viewer. The books layout was designed to have the right balance between the
textual content and the visual content.
In Designing Visual Interfaces: Communication Oriented Techniques, it states that,
Visual design attempts to solve communication problems in a way that is at once
functionally effective and aesthetically pleasing.
In the same book, the authors stress that while principles of visual organization have
been applied to printed media for years, the same cannot be said for on-screen media
which is why communication tends to suffer. This applies to existing instructional drum
videos as well. Although they do show what needs to be done and how, because it is
just a video with no other elements to back it up, communication with the learner is
limited. In Drumocracy, the placement of the graphical representation of the drums with
ColorBeats applied and the notation below the drum video allows the entire video to be
communicative and helpful
COLOR
The entire project relies a lot on color association with its ColorBeats method of
learning. The usage of colors allows for the differentiation of elements to become easier.
Using music and color together has also had some history with studies showing that
musicians interpret colors similarly (i.e. yellow is associated with a high pitch). The
colors chosen for ColorBeats had to be bright so that they can easily be distinguished
from each other. The colors also had to be easily seen and had to still be evident from a
distance.
35
METHODOLOGY
36
METHODOLOGY
OBJECTIVES AND MEASURE OF SUCCESS
This projects main objective is to serve as a learning medium that is both visually
appealing and effectively communicating. It aims to provide a resource that will keep
the learner interested, keep the learner turning the pages and wanting to know more.
It also aims to heighten the learners interest and dedication to the craft. Learning this
instrument takes hard work, passion and time and this project seeks to encourage the
learner enough to keep working while also enjoying.
This objectives success depends on the efciency of the design method that was used
for the output. As for measuring the projects success, this was done through actual
testing of the nal output its target market. The author located willing participants, who
were genuinely interested to learn how to play the drums, to test it using equipment
that was provided during the Information Design Exhibit held during the rst week of
February 2011. Although this kind of testing was only limited to the most initial and
basic concepts available in the series seeing as the books have much content.
Another of the projects objectives is to be a starting point for books for other
instruments. Re-evaluating the design of these kinds of books and applying it could be
very benecial for music education in general. Its been tried and tested that redesigns
jumpstart interests, take for example classic books that have adapted themselves to
modern designs. If books like these can engage the learner, then more and more will
become interested as well. If individuals themselves initiate interest in learning rather
than their parents or their school curriculum, then the learning process will be more
effective and the results will be more positive. Utilizing new media available today is also
vital for the future of music education, be it formal or informal. If these new forms of
media are used in the best possible way that will prove benecial for the learner, it could
entail a new phase for music education and further spur its progression for the better.
This projects target are young boys and girls in their pre-teens to early twenties who
want to learn the instrument without having to pay for formal training or private lessons
and who have access to equipment needed for learning. These are people who have
genuine interest in the instrument; people who, when they listen to songs on the radio,
nd themselves paying more attention to the songs rhythm or beat than the melody.
37
Also, since the learning process takes time, it is meant for students who have much
leisure time in their hands. These are the people who might not yet be completely
aware of their own selves and personalities and who might nd it difcult to express
themselves. Playing instruments is denitely a way to express oneself and playing
the drums, in particular, can be very relaxing compared to guitars and pianos since
your whole body is in motion and instead of melodies, one creates rhythm. Although
these books primarily target people who will not necessarily dive into drumming as a
profession, this can still be used by those who are considering it and would simply like
to test the waters.
Furthermore, there is a large amount of drum books available for anyone and everyone
interested in learning the instrument; Googling drum books would give about
7,250,000 results. And while a number of these are undoubtedly great sources for
learning the instrument, they often fall short design-wise. Even some of the most
famous drummers, such as Dave Weckl and Dennis Chambers, have their own
instructional books but these kinds of books rely mostly on the established name of
the drummer rather than in the way the content is presented. It may be argued that the
content is the most important element anyway but one must consider how that content
is presented in line with the books objectives, which, in this case, is educating the
reader.
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METHODOLOGY
BACKGROUND STUDY & RESEARCH
The topic was nalized in July 2010, initial research was on the state of informal drum
education today as well as the resources available both online and ofine. Given that
this project aims to be a denitive resource on the topic it is important to collect and
assess what data is already available out there.
As previously mentioned, a variety of books on learning drums already exist. A
comparison was done among drum books in order to gure out what to include in the
projects output. Instructional videos were also taken into account to see if the content
found in these videos differ from those found in books and if these contents can be
translated into static visual in the project or be included in the instructional DVD as well.
CDs and other audio resources were also looked into to assess what kind of audio would
be best suited for the project: if it will include a commentary or just play-along drum
patterns, how many beats per minute should the audio accompaniment be, and other
questions. Furthermore, research on effective music education will also be necessary.
The author reviewed practices in formal music education and attempted to somehow
interpret these practices for use in the project output to see if methods in formal
education can also benet informal education in some way.
After deciding on a topic for the creative project the author was faced with the same
problem seen in drum books today: the necessity of drum notation and the effort that
comes with learning it. The author initially planned on devising a new notation system
that would be easier to learn but this would have been problematic if ever the learner
decided to pursue a formal education and would have to relearn an entirely different
notation system. It would have been impractical to devise a new notation system when
one already exists. Instead, the author thought of how to make reading music less
intimidating for the learner and this was achieved by adding color to the present system
and thus, ColorBeats was born.
39
With all the new technology coming out recently, there are some who would think that
print is a dying medium. The appearance of e-books as well as mobile applications have
raised doubts on the future of printed books. The author believes that books are still
essential in the learning process and attempted to incorporate new technology available
since the projects target market will include the tech-driven youth. Because visuals
are also important in music education, the contents of the instructional DVD were also
researched on. This included to determining from which angle the video must be taken
from to increase its effectiveness.
Drumocracys printed material includes illustrations that were aimed to be suitable
in terms of the Cognitive Theory of Multimedia Learning. There are less decorative
visuals to be able to maximize the space and for a straight-to-the-point approach
when it comes to the content. There is roughly the same amount of representational,
organizational, and explanative illustrations throughout the project to accompany the
content and to enhance the over-all learning experience.
In illustrating and choosing which diagrams to include throughout the project, questions
from Learning to Think and Communicate with Diagrams: 14 Questions to Consider
were also taken into account (Brna, Cox, & Good, 2001). This study highlights key issues
relating to external representation within an educational context. This is vital to the
projects effectiveness since it aims to communicate with the learner and, at the same
time, encourage the learner to think as well. Some of these questions include:
what tasks do diagrams make easier?
How can we partition the cognitive load in a sensiole wa]?
How can diagrams oe used to promote 'sense making'?
Can the self explanation effect oe enhanced o] the use of multiple representations?
what relationships are there oetween task, prior knowledge and self explanation?
40
METHODOLOGY
COLORBEATS
Drumocracy utilizes its own method of teaching called ColorBeats. Colors are assigned
to the different parts of the drum set and these colors were utilized visually through the
book, the DVD, and in other materials included in order for the learner to associate the
colors with their corresponding parts immediately. For the drum set, reusable ColorBeat
stick-ons are included for each part. These can be stuck onto a drum set at home or
can be carried around in case another drum set is to be used.
Drum notation is also one of the topics covered by the project and also uses ColorBeats.
People might nd learning how to read notation difcult since it could be compared to
learning a new language. The project does not venture away from the WMN (Western
Music Notation) that is used as a standard. Instead, it builds on it and even attempts to
standardize it using ColorBeats.
In determining the assignment of colors, part of the methodology of a project by Ciaran
O Kelley called Visual Audio was used as reference (2004). Visual Audio is a language
that translates from music to visuals for the deaf. The language uses colors and its
development was based on audible and visible wavelengths; the note with the longest
wavelength was used to represent the color with the longest wavelength and all other
notes followed this pattern.
41
In developing the system for ColorBeats, a similar method of measuring wavelengths
was used. But instead of measuring a notes wavelength, each drum parts wavelength
was used for reference. Below is the step-by-step process used for determining the
corresponding colors for ColorBeats.
1. Each drum part was recorded individually.
2. Using a program called AudioLeak, each parts wavelength was determined.
3. Images of the wavelengths were zoomed in and measured.
4. In determining the colors, the parts were divided into two categories: drums and
cymbals.
CYMBALS DRUMS
PART WAVELENGTH COLOR PART WAVELENGTH COLOR
Ride 261.4 red Hi-tom 76.6 green
Crash 210.3 orange Low-tom 65.3 green
Hi-hat 10.2 yellow Floor tom 45.2 green
Snare 36.7 blue
Bass 15.5 violet
42
ColorBeats was applied in teaching drum notation as a way of encouraging the target
audience to learn it by making the process more enjoyable and possibly easier as well.
For most people, the difculty of reading music notation is the inability to immediately
determine what tone a note on the staff represents (Barua & Paterno, 2006). With
ColorBeats, using color to stimulate a persons visuals further enhances the interaction
of the notes on the spaces and lines. The colors were applied to note heads on the
music staff and not on whole notes or bar lines to avoid confusion. The same colors
were also applied to the actual part of the drum (i.e. red stick-on for the ride cymbal) for
immediate association and faster learning.
METHODOLOGY
43
FILMING & PHOTOGRAPHY
The instructional DVD included in the projects output consists of clips demonstrating
basic beats and patterns that can also be seen in the book. This DVD serves as all-in-
one source of learning the drums. Previously mentioned were the different methods
of learning. This also includes the options of learning the instrument through notation,
through imitation, or through hearing. Different books on the topic focus on just one of
the three and, in a way, leave the learner no other options.
Drumocracys instructional DVD attempts to utilize all three all at once, leaving the
learner to choose which method would be better suited for the learning process. If
the learner opts to imitate the demonstration, he can do so by simply watching and
following the instructional videos. The same goes for the learner who will opt to learn
through hearing. For the learner who would prefer to learn notation, the ColorBeats
system is also applied. Two-thirds of the video screen is composed of the actual video,
and a glowing graphical representation of the drums in some sections, while the other
one-third comprises of an animated version of notation. The notation in the video acts
as a guide for when to hit what part of the drum set. Utilizing this method would not only
make learning how to read notation more fun, but also possibly encourage learners who
opt not to learn notation due to tediousness to see that notation can be fun to learn as
well. This way of teaching can also be seen as a game, similar to but not as detailed and
complex as the famous Rock Band games.
Initial recording tests were done by the author with her own drum set at home, which
resulted with an okay video with terrible sound. Various recording studios rental fees
were then canvassed taking into account not only the sound quality but the lighting as
well since there will be lming involved. Fortunately, the owner of a family friends bar
allowed the recording to be done in their bar in the afternoon before opening hours with
no fee.
44
FILMING & PHOTOGRAPHY
The instructional DVD included in the projects output consists of clips
demonstrating basic beats and patterns that can also be seen in the
book. This DVD serves as all-in-one source of learning the drums.
Previously mentioned were the different methods of learning. This
also includes the options of learning the instrument through notation,
through imitation, or through hearing. Different books on the topic
focus on just one of the three and, in a way, leave the learner no other
options.
Drumocracys instructional DVD attempts to utilize all three all at
once, leaving the learner to choose which method would be better
suited for the learning process. If the learner opts to imitate the
demonstration, he can do so by simply watching and following the
instructional videos. The same goes for the learner who will opt to
learn through hearing. For the learner who would prefer to learn
notation, the ColorBeats system is also applied. Two-thirds of the
video screen is composed of the actual video, and a glowing graphical
representation of the drums in some sections, while the other one-
third comprises of an animated version of notation. The notation
in the video acts as a guide for when to hit what part of the drum
set. Utilizing this method would not only make learning how to read
notation more fun, but also possibly encourage learners who opt not
to learn notation due to tediousness to see that notation can be fun
to learn as well. This way of teaching can also be seen as a game,
similar to but not as detailed and complex as the famous Rock Band
games.
METHODOLOGY
45
Initial recording tests were done by the author with her own drum
set at home, which resulted with an okay video with terrible sound.
Various recording studios rental fees were then canvassed taking into
account not only the sound quality but the lighting as well since there
will be lming involved. Fortunately, the owner of a family friends bar
allowed the recording to be done in their bar in the afternoon before
opening hours with no fee.
Recording took place on November 24, 2010 in Bagaberde, Roxas.
Professional drummer, Ernie Severino, was asked to be recorded for
the DVDs content and Communications major, Guada Tagalog, was
asked to do the lming. Musicians Ned Esguerra and Leevon Cailao
volunteered to record the audio using the bars audio equipment. The
video was recorded using a Nikon D5000 camera while the audio was
recorded and mixed using the bars audio equipment and a laptop.
Since the video and audio were recorded separately in order for the
audio to have a higher quality, both were synced using Apples iMovie.
The author purposely had the lming to be from the top on the side
of the drummer. This was another problem seen in a lot of drum
video tutorials. When the video is lmed from the top view and from
the front of the drums, the learner has a harder time translating and
deciphering. When it is lmed from the point of view of the drummer
its easier for the learner to understand and imitate whats shown in
the video.
Product shots of the different parts of the drum set as well as
certain accessories were also needed for the book. Once again,
Guada Tagalog was asked to do photography. All the products were
borrowed from Ernie Severino and the shoot took place on January
10, 2011 in Camera Cart Studio in Katipunan. First, the drums were
set-up and photographed as a whole set. After that, each individual
part was shot. Special effect cymbals, drumsticks, and other
accessories needed for the book were also shot.
46
METHODOLOGY
BOOK DESIGN & MOTION GRAPHICS
In designing the book, balance between textual and visual information was most
important. Meanwhile, the videos had to be visually informative but that amount of
information presented has to be just right.
The over-all look and feel of the book was an informative but strong design. Since
the target market consists mostly of the youth, a simple but edgy design made up of
text accompanied by relevant and useful illustrations will be able to catch and retain
their attention. The ColorBeats method was also utilized in the book by assigning the
specied colors in discussing the different parts (i.e. pages that discuss the snare drum
will be dominantly blue). The design also incorporates drum-related elements for a more
cohesive visual.
The book was printed in January 2011. The books cover features a foil-stamped
Drumocracy logo. It was wire-bound to allow the reader to hold and read the book
easier. The video used motion graphics made in Adobe After Effects using ColorBeats
to animate the glowing circles. Everything was put together in Adobe Premiere Pro and
everything was compiled for the DVD, including the menu design, using Adobe Encore.
PACKAGING
Packaging all the paraphernalia had to be cohesive with the objectives of the project as
well. Instead of the usual packaging with all the components in a box, the author opted
for something that the learner can also use. A drumstick bag is something every aspiring
drummer will have eventually so this was chosen for the packaging. On the left pouch
is the starter drumsticks that come with the project and on the right pouch, the books
compact size allows it to t. The CDs and DVD are placed in a CD case with pockets,
similar to those found in cars. The extra space in the CD case allows the learner to add
in more CDs, for example, a burned CD of songs he/she likes playing along to.
47
DATE ACTIVITY
July 2010
Finalize topic
August 2010
Project proposal and presentation, initial research
September 2010
Intensive research, nalize projects content
October 2010
Begin design process
November 2010
Filming for instructional DVD
December 2010
Finalize book layout
January 2011
Product photo shoot, nalize designs, test initial designs,
printing
February 2011
Exhibit, evaluation, defense, nal documentation
SCHEDULE
49
PROJECT PROPER
50
PROJECT PROPER
The primary goal of this creative project is to be informative, communicative, and visual.
Seamlessly integrating all these three elements was achieved through the projects
design. Since the project utilizes two different mediums, print and video, different
principles and design concepts were applied to each in their design process, while still
staying true to Drumocracys overall design philosophy.
BOOK
Several icons were used throughout the book to distinguish its different parts. The icons
were designed to be simple yet informative, similar to the logos style. Each icon is also
enclosed in a drum-related element. The icons for the drumset, ColorBeats, hardware,
maintenance, and gear are enclosed in the shape of the top view of a drum. The icon
for tips/info is enclosed in a shape of a drum hoop. Lastly, the icons for audio and video
were enclosed in the shape of the bottom of a drum key.
51
For the books general look and feel, initial layout designs were tested with content
dealing with the drum set and its parts. The challenge was how to harmoniously put
together all the necessary elements while avoiding being too cluttered. The design also
had to be a bit edgy to go with the projects overall design and because of the projects
target market as well.
The book was initially meant to be 6 x 9 landscape so it would be easier to put
on a music stand, assuming it would be put in one when the learner is seated on
the drumset. This size also allows more space for different elements in a page. The
drumset graphic/illustration beside the page title (Snare Drum) is meant to inform
the reader which part exactly is being talked about in the page. Below the parts brief
description are related pages through out found through out the book (i.e. maintenance,
accessories, etc.). The initial designs were too simple and the spreads would become
too similar with each other had this design been used, therefore risking communicability.
52
PROJECT PROPER
The size of the book was changed to 6 x 9 portrait in order for it be easier to read
and also to have a more informative feel, rather than the coffee-table book feel the rst
design study had. This study was designed more like a magazine. Using this design
would have been distracting since it risks alienating the fact that the project is a learning
resource. This design had too much going on visually and also risks the informative
content to be neglected.
53
The third design study was an attempt to make the design more distinct yet exciting
while still being informative. In contrast with the second design study, this design had
more negative space and focuses more on the content. This is closer to the nal design
that was used eventually.
54
PROJECT PROPER
The fourth and nal design study combines the stronger elements found in the previous
design study for a more coherent look. The overall design is a bit informal but does not
take away the fact that it is a learning resource. A bookmark-like graphic was placed on
the upper left corner with the corresponding icon for each section. The main sections
title is white on a colored rounded rectangle (depending on which part/section) with
the name of the subsection beside it. This is the case for most of the pages except the
introduction and the chapter dividers. The different icons were also incorporated when
needed to lessen the need for text. Extra but necessary information, like feet positions
shown in Figure #, were enclosed with a border to distinguish it from the normal text
of the page. The graphical representation of the drumset found in the rst design study
was also modied to be simpler using mostly circles with thick borders. With this nal
design study as the general look and feel of the whole book, the design of the other
sections were adjusted accordingly while retaining the theme.
55
Apart from the main table of contents, each chapter of the book had a corresponding
table of contents as well. The design was simple and straight to the point: what sections
were included in that chapter along with a brief description. Unlike the main table of
contents, the chapters contents do not have their corresponding page numbers because
they are meant to be read in order.
56
PROJECT PROPER
Unlike the rest of the book, the pages from the introduction were on a black background
to distinguish itself from the rest of the book. The style of illustration in these pages
dictate the style of illustration found in the whole book. This chapter also covers how the
book it to be used and presents ColorBeats as well as the icons. The black background
allows these important elements to stand out and therefore become more eye-catching
and memorable for the reader.
The spreads for the individual drums parts were essentially similar in design. On the
upper left corner below the header is a simple graphic representation of the drumset
similar to the one seen in the introduction but with only the part being discussed in
color. This also applies to the parts notation. Apart from the headers and subheaders,
the corresponding ColorBeat color is only used in highlighting important elements like
the different parts of the instrument and the borders of the magnied portions.
57
The ColorBeats chapter dealt mostly with reading music and was the most difcult
to design because of the amount of information that had to be included. The rst few
pages (left) do not have actual notation yet, but instead translates ColorBeats in easy to
follow counting patterns. The simplicity of the visuals is meant to ease the learner into
the next few pages, which gets a bit more difcult. On the right is a sample page with
ColorBeats applied onto drum notation. The Grooves section has a Song Bank wherein
some popular songs are suggested to be played-along with each groove. On the upper
right of the spreads are icons that represent whether the patterns on the current page
are available on the CD or DVD or on both. Most of the pages that include notation (i.e.
lls, genres) look similar: brief introductions and explanations and a certain amount
of spacing between patterns. Most drum books have so many patterns crammed into
one page, making it quite overwhelming at rst glance. Having ColorBeats applied to
the music notation as well as having the right amount of spacing in between allows the
content to breathe and also does not overwhelm the reader.
58
PROJECT PROPER
The highlight of the Gear section is the drumstick recipe introduced by the project. On
the left are two out of the three components of the recipe: wood and tip. On the right
are various examples of different combinations of from the recipe applied to actual
drumsticks.
59
DVD
The DVD with its video tutorials is supplement to the main book but its design is just
as crucial. Since it is an entirely different medium, a different approach was taken in
designing the interface of the video but still with communication as the primary goal in
mind. The general interface for the videos was essentially the same: the section header
design was similar to the headers in the book for a coherent design.
The videos for the grooves and lls sections had the most elements: video, notation,
and ColorBeats animation. The ColorBeats animation displays the simple graphical
representation of a drum set and animates the part when it is hit. Above this is the
legend, just in case the learner needs it. The video on the left side of the screen shows
a real life demonstration of the pattern being performed. Below the video demonstration
and the ColorBeats animation is the pattern in its notated form with ColorBeats applied.
There is also a bar that indicates when the notes are hit. Although having everything
moving on the entire screen all at once may seem difcult to follow, the learner is
meant to choose which method he/she would like to work witheither by imitation with
the video demonstration or the ColorBeats animation, reading notes by following the
notation, or even by ear. The learner can concentrate on just one element out of the
three and have the other two elements present for quick reference.
60
PROJECT PROPER
The interface for the rudiments section only has two elements: the video demonstration
and the notation. ColorBeats wasnt applied to the rudiment notation because the
rudiments can be applied to different parts of the drum and are basically meant for
practice. Which hand, left or right, should be used in each note is also indicated below
the pattern. The moving bar for the notation was not needed for this section since the
same pattern was just being repeated over and over in different speeds.
Since the Genre section is meant to serve as an introduction to the different
music genres and the Full Song section serves as an example and, at the same
time, a challenge for the learner, these sections only needed to include the video
demonstrations.
63
OUTPUT & DOCUMENTATION
64
OUTPUT & DOCUMENTATION
BOOK
The book in its printed form was very compact and easy to hold for reading. Being wire-
bound, this allows for the reader to fold the book easily when the need to concentrate
on a specic page arises.
DVD
The DVD video can be viewed with any video viewer. Most ideally, it should be viewed
on a television screen to be able to see everything clearly but it can be viewed via
desktop PC or laptop too, whichever is readily available and more comfortable. A
laptop may also be ideal if it is to be viewed while the learner is behind the drum set.
The DVD menu allows for the viewer to play all the videos in a chronological manner.
Each individual video can also be selected via the menu if the viewer wishes to view a
specic video.
65
COLORBEATS
The book in its printed form was very compact and easy to hold for reading. Being wire-
bound, this allows for the reader to fold the book easily when the need to concentrate
on a specic page arises.
LEAVE-BEHINDS
The projects leave-behinds included stickers and pins and were made available during
the exhibit for Drumocracys visitors. The leave-behinds served as promotional materials
for the project as well.
67
REFLECTIONS & RECOMMENDATIONS
68
REFLECTIONS & RECOMMENDATIONS
The author was initially very hesitant to push through with this project because
it was too personal. But this became the very same reason why the project was,
overall, a success. The project was tried and tested by a number of people during the
Information Design Exhibit held during the rst week of February 2011 and the feedback
was overwhelmingly good. Most of the visitors were intimidated by the instrument
and claimed that they had no sense of rhythm and that they had bad hand-feet
coordination and therefore could not possibly play the drums. But after trying out the
most basic beat using ColorBeats, they found the instrument to be less intimidating and
exciting to learn. The feedback on the book was very positive as well. There were many
remarks that if they had a book like Drumocracy, theyd be encouraged to learn the
instrument.
After receiving comments and feedback on the project as a whole, the author plans
to sell the project if ever a publisher or investor would be interested in the future. If
ever this happens, numerous improvements can still be done with the project. A more
comprehensive test of the entire project should be done. A better video interface would
contribute even more to the project if a professional video-editor can be hired. The
author also plans to expound on some of the sections in the book, something the author
was not able to accomplish due to time constraints.
Ultimately, the author hopes that Drumocracy will not stop at just being a thesis project,
but become a project that will change how the instrument is generally viewed and
encourage a wider audience to take interest in this amazing instrument. Drumocracy will
continue to aim to achieve even greater heights and attempt to revolutionize informal
drum education as a whole.
70
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