A different view (same conclusion) on iPad vs. Android Tablets

Earlier today, Fraser Speirs tweeted about an article from Mark Cunningham, who has been implementing a 1:1 Android pilot (140 devices) for the Edinburgh Council.

Important lessons on warranty and repair turnaround from a Scottish school trying Android devices: cunniman.net/?p=1352

—
Fraser Speirs (@fraserspeirs) April 06, 2013

Every now and then, I receive feedback (in person, in an e-mail, on a forum) where an Android tablet owner is upset about the continued success of the iPad, particularly in education (and although it is true more and more Android devices are being sold than iOS devices, iOS is still maintaining a huge percentage of web usage, profits in the industry, and available apps).  Mr. Cunningham, after using Android devices for a year, has this to say:

…After much consideration iPad / iOS is the platform which best meets the needs of our secondary learners. There are two fundamental reasons why I believe we need to change from Android tablets to iPads this year: 1.  Availability of rich learning content All too regularly I come across a fantastic app only to discover that it’s available only for iOS and not Android. I don’t have an exact figure, but I would guess that maybe one third of the educational apps are designed for iOS only (some great examples are GarageBand, Explain Everything,Foldify, KeyNote, Puppet Pals, Brushes, Geoboard to name but a few). Of course that might change in the future as Android continues to catch up, but as things stand this is a problem. 2. Device (and company) robustness As I highlighted in my previous 1:1 posts, Toshiba (note: Toshiba and not Android) have let us down. Badly. The project this year has been hampered by a return to base warranty issue which has meant that at times we were without 20% of all devices and the time to repair was on average a completely unacceptable 4-5 weeks. This was down to a manufacturing / build fault, but despite numerous requests for support Toshiba spent 6 months saying there was nothing they could do. Would Apple have sat back if one fifth of their devices rolled out to a school were faulty? I doubt it, and I doubt Apple would allow such build faults to get past their quality control processes. (I should point out that 7 months into the project Toshiba finally visited our school to review all devices, but in my opinion this was too little too late). Would other Android companies such as Asus or Samsung be any different to Toshiba? Possibly, but I don’t know. Just to be absolutely clear, I am neither an Apple or Android promoter, I just want to ensure we are providing the best educational tech tools to meet the needs of our learners. Currently, in my opinion the iPad is the tablet device which best meets our needs. And next year? Well, who knows…

The topic of this blog is (and remains) the use of technology in music education.  Although I do not have the ability to purchase all devices, I make an attempt to buy a few (such as my Android-running HP TouchPad and the Samsung Google Chromebook, which I am actually using to type this blog post) and to get to big box stores to play with other new technology that I can’t buy.  Cunningham’s two issues are true in music education as much as any other field in education; but I would add that nearly every other technology solution–particularly when it comes to computing, other than the iPad–fails miserably in the music classroom, as well in the classroom of other electives.  My firm belief is that in the current era, when a school chooses another platform for computing (Android, Windows Tablets, Windows PCs, Chromebooks, even MacBooks), they are sending a message that the electives are not important in education, and that technology does not matter in those fields.

Yes, I am pro-iPad.  But I am also pro-technology.  A fellow teacher at my school recently gave me a bit of grief for buying a Chromebook, saying, “The biggest Apple Fanboi I know just bought a Chromebook!”  He was joking, but I replied rather seriously, “Don’t confuse my love for Apple and their solutions with my overall interest in technology and its use in education.”

Put another way, there may be a place in your life for a Chromebook, and Android Tablet, a WIndows PC, or a MacBook.  As I have mentioned, I am using a Chromebook at this moment.  But if you are pursuing a 1:1 educational situation with any of those devices instead of an iPad–then that effort is misplaced, particularly if you endorse a well-rounded liberal arts education.  If you don’t support a well-rounded education, then buy everyone a Windows PC or a MacBook, and be honest about your philosophy of education (most decision-makers are afraid to be honest about this, or deny that they have that bias).

As Cunningham notes (and in fact,so did Fraser Speirs, when originally writing about their adoption of the iPad), “Currently, in my opinion the iPad is the tablet device which best meets our needs. And next year? Well, who knows…”  But here is the thing…you should never buy something for what it might do, but instead buy it for what it currently does.  One of the problems with Android devices is the issue of fragmentation (multiple versions of the OS running on thousands of devices), although the iPad is starting to experience fragmentation, too (The three-year old first generation iPad cannot run iOS 6, and thus a large number of apps).  I know of a number of schools buying Android devices that say, “We expect the app situation on Android to improve.”  And it has–a little.  But Apple’s platform has continued to develop as well, and so has the Apple App Store.  If you are going to spend limited education dollars on technology, you need to have an ear to the ground about what is coming–but also be aware of what the device can do right now.  If you compare Apples to Apples (terrible analogy in this case), then the answer has to be iPad.

Final Note: Fraser Speirs followed with some additional tweets about Mr. Cunningham’s experience with faulty tablets and down time, which he also discusses in his article.  It HAS to be unacceptable to lose 20% of your technology platform at times (as happened in Mr. Cunningham’s situation).  Mr. Speirs noted that he could get a device replaced within a day, versus 4-5 weeks with the Toshiba tablets.  Granted, there are probably better quality Android tablets on the market that would have the operational durability we’ve seen with iPads…but this is a part of the discussion to consider when Android tablets are chosen over iPads.

Post Script: I managed to crash the Google Chromebook while writing this post.

SmartMusic on the iPad: A Sneak Peek from MakeMusic

My colleague Paul Shimmons has written about this: MakeMusic has posted its first sneak peek of SmartMusic on the iPad (link).

I have had the opportunity to see the app in action a few times (it has been displayed at various music conventions starting with the Midwest Band and Orchestra Clinic), and have been waiting for MakeMusic to release this first video.

It is important to note that the first version of SmartMusic for the iPad will not include the ability to do “assigned” assessments nor the ability to use custom SmartMusic files (i.e. generated by Finale), but you will be able to use the app to assess yourself with any of the existing SmartMusic files. The other functionality will come later (likely in the year).

It doesn't take long to figure out that this is a game changer. I know a number of teachers are fretting over SmartMusic's pricing changes–particularly those teachers who used a practice room subscription to serve most of their SmartMusic needs.

In my case (high school choral), I use one of four computers to process about 140 students. My students have to (generally) do their SmartMusic exercises outside of the school day, during lunch, or in class. We have continual difficulties with audio (particularly microphones) as well as abuse of our microphones by students (The practice rooms are used by a variety of students, so as of late, we have to check microphones in and out). Using the SmartMusic USB adapters has helped (if you are a Mac user, that adapter is a MUST), but the audio setup can be a challenge. I burned 40 minutes today getting computers “going” for SmartMusic. This is NOT SmartMusic's fault…it is the fault of our computer hardware. And it is the fault of students who unplug things they shouldn't and yank and twist things they should leave alone.

All of that struggle will go away with iPads…whether they are $40 student subscriptions or $8 practice room subscriptions. We will be able to check an iPad out with a headset to a student, and check them in (quickly verifying any damage), unlike desktop computers that have to sit unguarded in a practice room. We may even be able to check out a Practice-Room enabled iPad to a student overnight, so they can complete a SmartMusic assignment at home.

And in 1-to-1 settings where students have SmartMusic on their iPads, having the ability to do SmartMusic anywhere, anytime will be a huge benefit as I want to start using SmartMusic for shorter formative assessments that will keep my choir students accountable to learning their music.

I also know a number of choir teachers who use one SmartMusic account to teach sight reading to their class. The iPad version of the program will be incredible for that use.

Paul Shimmons, in a follow-up post, noted that one of the requirements of SmartMusic for the iPad was a set of headphones or external speakers. This makes sense, as the iPad's speaker will never be as loud as I can sing–and certainly not as loud as I play my tuba. So if I want to play a song that has an accompaniment (most songs), I would need a way to hear that accompaniment (the MakeMusic video doesn't actually demonstrate playback).

In short, the iPad version of SmartMusic, along with the new individual subscription (versus per-computer subscription) is going to bring a whole new level of accessibility to SmartMusic–making it well worth the $40 or $8 per student. And at the same time, that $40 or $8 investment will cause most teachers to make better use of SmartMusic, knowing that there is a cost for the program.

As you go to check out the MakeMusic mobile website, take a look at the new website layout and MakeMusic branding. The site is looking great!

As always, I speak from my own opinion and I do not represent any company.

 

Note: there are always a few people asking, “Where is this program for Android?” Remember that the original target for SmartMusic is grade 5-12 band, choir, and orchestra programs (although there are certainly applications for younger students with recorder, as well as collegiate students). Android tablets are not seeing any significant implementation in education (there are scattered efforts, such as with the Kuno), whereas just today, Apple mentioned that there are 8 million iPads in education–4.5 million in the US alone, a number growing by the day (literally). I know that MakeMusic isn't “Anti-Android” as they released SmartMusic Inbox for both Android and iOS. SmartMusic will already run on the Microsoft Surface Pro. But if you are going to create an app that will have the greatest impact on education (and also sales), the iPad is the tablet of choice. That may not be fun for an Android owner to hear–but if you are an Android aficionado, you know the benefits that the Android platform brings to the table–as well as the challenges of that platform.

 

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The world of digital sheet music (revisited)

http://www.publicdomainpictures.net/view-image.php?image=28157&picture=reading-music

In regards to technology integration in music education, I continually find myself at the same starting point: the logical “jump in” point for nearly all teachers is digital curriculum–music or general music books on a tablet device.

Although there are certainly uses for “traditional” computers in music education, there are only a few courses where those computers can be used at all times (for example, a music technology course, using Garage Band, Logic Pro, or similar software).  But that same computer can’t be used throughout a choir, band, or orchestra rehearsal–nor will you want them on the ground in a general music course.

You can also make the point that the computer could be used by the teacher (e.g. SMARTBoard) or by one student at a time–but if we’re honest, that really isn’t 21st century learning.  The goal should be for every student to have a device that can be used in every class, throughout the day.

In music–like many elective subjects–the tablet is the only option.  At the moment, that tablet is the iPad, and all signs point to it remaining the iPad for some time.  There are good tablets from other companies–but nearly all those tablets aren’t geared towards educational deployment, and they often lack the excellent programs that exist for the iPad.  This is particularly true in music.  Fraser Speirs, the IT leader in Scotland who had the first deployment of iPads in a school, often declares, “Show me a tablet with an app as good as GarageBand, and then we’ll talk about tablets being equal.”  We can add to that comparison in music education: show us an app that compares with forScore, or Notion, and we’ll talk.  Specialists in every education field can say the same thing about the iPad versus any Android or Windows tablet.

At any rate, the point that I’m trying to get to is that most teachers need a way to simply start using technology.  They need it to act as a substitute for something they are doing–and hopefully, for that substitution to be fail-safe and easier than using a non-technical solution. For just about every discipline in music, the starting point is sheet music.  The first time you can jump to a D.S. with a touch, or turn pages with a pedal, you’ll never want to go back.  Expect to see tablets that are lighter each year.  The 3rd/4th Generation iPad was an anomaly (heavier than the 2nd Generation) due to the new Retina screen and larger battery to power that screen.  Expect the weight and size to decrease annually from this point forward.

I don’t know how lucrative the sheet music industry is.  The major publishers (Hal Leonard and Alfred) have absorbed many smaller companies, but there are always new publishers to take the place of absorbed publishers.  I’ve been told that it is standard to pay a composer 10% of the price of each copy of sheet music.  We have a local music store that gives us a 20% discount on published music at certain points of the year, so I’d guess there is only another 5% margin on top of that.  I’d imagine another 20% goes for licensing, meaning that 45% of the cost of a piece of music goes towards salaries, facilities, printing, and shipping.

Right now, the average choral octavo costs $1.95.  That means that $0.87 for each piece of music stays with the publishing company.

Paper music is a hassle.  You have to catalog it; stamp it, store it, hand it out, and collect it back again.  Musicians write on it, use it, sometimes abuse it, and sometimes lose it.  We have giant Wenger shelves to hold our music…what an overall waste of space and paper!  The end result is that you eventually have to buy more copies of music to replace worn or lost copies–if the publisher still sells that music.   The same is true for general music books.  It is inexcusable for pieces to go “permanently out of print” in this day and age…simply keep a PDF stored on your servers.

Here’s the truly insidious piece: digital music costs as much as (or more) than printed music.  So…if the music publisher sells a PDF (or Scorch, or Finale Viewer) file, you’ll pay as much for that digital copy as a paper copy.  In the process, you’ll eliminate your local music company from the equation, and the publisher doesn’t have to pay to print, bind, or ship the music.  They may have to pay for web hosting, but that’s a minimal cost in the long run.  Therefore, if you buy a piece of digital music for $1.95, the music company keeps 90% of that sale.  I’m hoping they still pay the composers…in the book industry, several publishers were not paying authors for digital copies of their books that were sold, as their contracts did not say that they had to.  Today’s authors have to be very careful about the agreements they sign.

I understand that music publishers are hesitant to go to PDF, fearing copyright infringement.  There will probably be some teachers who will abuse the system.  I’d argue that they already are (photocopiers).  Most teachers, however, will do their best to buy legal copies of music, understanding that other people’s lives are affected by copyright infringement.

Chromatik has a new solution, offering many selections from Alfred on their website.  If you are an orchestra or band director, there is an additional bonus that you can buy only as many copies as you need for your group: smaller group, smaller cost.  Choral music remains full price.  I love the convenience of this, but I have two issues with it: first, I can still buy music cheaper from my local music store.  Second, the music remains on Chromatik, so if something happens to the company–we lose our music.  I’d be so much happier with a master PDF that we could store and use as we need.

Copyright law indicates that it is illegal for you to convert your paper music to digital resources, except to make an archive copy for your personal use.  My only suggestion is that if you do covert your music to a digital format, make sure that you have a legal paper copy for each digital copy–giving the music publisher and composer their “due.”  And don’t share those digital copies with other directors/schools.

I hope copyright law changes in the future, because schools are going digital now.  Music budgets are on the decline, and schools simply will not be able to afford to repurchase music they already own in another format.  Publishers could do the “right” thing by offering clean master copies (a chart generated directly to PDF from a music notation program is always going to be cleaner and smaller in storage size than a scanned piece of music) to schools and churches for an extremely discounted price which would include a license to use as many copies as the school had already purchased.  And the price of new digital music, purchased directly from the publisher, should reflect the lower cost to the publisher, too.

Clearly, the issue isn’t if schools will go 100% digital and 100% tablet…it’s a matter of when.  I’m not saying that schools won’t have desktop computers…those will be specialized in specific labs.  I think Steve Jobs said it correctly in 2010 when he stated:

When we were an agrarian nation, all cars were trucks because that’s what you needed on the farms. But cars eventually became more prevalent is people moved to cities. PCs will be like trucks…they are still going to be around, but there is a transformation coming, and it will make some people uneasy. Is it the iPad? Who knows? Will it be next year or five years from now?

I don’t know how we get music publishers to move to offering fairly priced digital copies (and site licenses for those copies) as well as inexpensive digital replacements.  There are a number of smaller music publishers out there who are selling digital music (PDF Based), such as Graphite Publishing and BandWorks Publications.  Support their efforts!

I will be sending a tweet asking for the names of other music publishers who sell PDF-based music at fair prices compared to the major publishers.  Please feel free to e-mail me the names of those companies, and I’ll start a blog roll in that category as well.

Steinberg to Create New Notation Product

Daniel Spreadbury, formerly of Sibelius, posted his first blog about his latest endeavor on the Steinberg blog yesterday. Although some infomation about this latest project had leaked earlier, the Steinberg team (former Sibelius members) are going to create a new notation product, and perhaps eventually move to mobile devices.

It's an interesting product move at a time when many users are moving their notation needs towards the free MuseScore or the $99 Notion. This is particularly true at schools, where labs can be outfitted for free (MuseScore) or site licenses obtained for a ridicuously low price (Notion). Historically, we have never had as many quality choices for music notation as we do today (remember: Finale and Sibelius still exist). This is acknowledged in the post:

…We’re starting work on a new professional-level application for Windows and Mac (and hopefully mobile devices later on) and looking to bring it into a crowded market that already has two very capable and mature competitors, not to mention an explosion of new products that exploit mobile devices and the web.

There are a few comments that were surprising in the post. This first comment was a commentary about Finale and Sibelius:

…our combined experience gives us a unique perspective on how to design a new application that will overcome the limitations of existing programs, escaping the legacy of code that is 20-plus years old.

I'm not a programmer, and I've never opened the code on any software program. One of the criticisms I've heard about Finale and Sibelius is that the code is tremendously outdated and will have to be completely reauthored in the near future. I can't speak to that, but Spreadbury indicates that this may be the case.

There has been a lot of debate about whether Sibelius will continue to be developed, or whether it will be used as is and eventually abandoned. Spreadbury indicates that Sibelius is no longer in development:

…the number of companies actively working on professional music notation software is very small, and perhaps now numbers only two (one being Steinberg, the other MakeMusic).

In no case are MuseScore or Notion mentioned by name. Perhaps Notion isn't considered a “professional music notation program,” but I know that it is certainly still under development, and that it has the potential to be used by professionals.

Speadbury was a great advocate for Sibelius, and would even show up to answer questions about Sibelius on the Finale forums (and one point, I had asked about the size of Sibelius 7, which seemed to be larger than the hard drive of a 64GB MacBook Air, and he responded to that question).

Naturally, the biggest draw for Steinberg Notation will be former Sibelius users–particularly if the product is abandonded. Otherwise, Steinberg will have to be exponentially better than its competitors who sell notation products, and be a better overall bargain than MuseScore. That's hard to do.

Paid Notation programs offer some resources MuseScore cannot, such as live customer service and some guarantee that the programs will last. As an open source project, there's no guarantee that MuseScore won't simply disappear tomorrow. That said, MuseScore offers amazing functionality that could meet the notation needs of most musicians and even music students. Professional composers and music publishers may need the flexibility and power of Finale or Sibelius. People looking for a bargain price, ease of use, and quality sounds–not to mention an iPad app–will look at Notion. It certainly looks like most of the market is covered by existing programs.

So…it's going to be interesting to watch. There's no ETA for the program–and as mentioned in the blog, they have to write all new code. It will be also interesting to learn if the developers singed non-competition agreements and how Avid reacts to this news.

I wish them the best, and I'll be following the Steinberg blog as well as Mr. Spreadbury's twitter account. Perhaps they are just crazy enough to make it in this market.

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Post TMEA/TI:ME and MMEA Thoughts

The last few days have been a whirlwind for me. Using a combination of personal days and a single professional development day, I was able to miss three days of school to present sessions at TMEA/TI:ME and MMEA. I feel blessed because both sessions were packed and feedback has been very positive. I try to make sessions entertaining, useful, and applicable at all kinds of levels. Those presentations will be uploaded soon, although the session notes are available in the “past presentations” section above. So, let me mention a few of my thoughts from the session.

• TMEA is gigantic. 26,000+ music teachers attend the festival, and I’ve been told that only the Texas Band Directors conference is larger (Apparently, the Texas ACDA is also big). You could take the conferences I’ve seen in Iowa, Minnesota, and Wisconsin and they wouldn’t match Texas. Barb Freedman, one of the leading music education technologists, said, “I tell teachers that they need to attend at least on TMEA.” I agree wholeheartedly. Stephanie Sanders, another music education technologist, stated that the tour guide on one of the boats in San Antonio said that the TMEA conference was the largest conference all year in San Antonio.
• My #1 place of learning at conventions remains in the vendor area. TMEA brought that to a whole new level, where the vendors stretch further than the eye can see. Special highlights for me were visits with the staff at MakeMusic (both at TMEA and MMEA…shout-outs to James, Bob, Beth, Bruce, and Michael), Notion (Jim Boitnott, CEO), and Air Turn. Texas draws a number of vendors that I’ve never seen at another show. Also…a lot of networking happens on that vendor floor.

One wing of the two gigantic vendor areas at TMEA

• You need to see what MusicFirst is doing. They are offering packaged solutions from a number of vendors based on cloud-based solutions for incredible prices. Jim Frankel, another leading music technologist (his writing can be found at mustech.net, along with other major music technologists Dr. Joseph Pisano, Richard McCready [TI:ME educator of the year], and Amy Burns) is leading this initiative.
• I have mentioned this in a previous post, but Notion for the iPad is going to be made equal to Notion for Mac/PC. I find this amazing–but I believe it. The CEO/President of Notion was wonderfully candid about his company and their plans. As I mentioned in my last post about Notion being the only option for notation on the iPad, I’d love to have that CEO as a boss–tough, high expectations, honest, and rewarding.
• You are going to love SmartMusic on the iPad. They are still showing a build from December that was tweaked to be excessively stable for MidWest, and I had a chance to see two different current builds at both TMEA and MMEA (the MMEA version was 4 days newer than TMEA, and already had some bugs worked out). I’ve heard these things said on the vendor floor to other people, so I am going to mention them now (in the middle of a long post). First, SmartMusic on the iPad will not be fully featured when it comes out this Spring, but it will be fully featured in the fall. The initial version will be able to access every piece of literature that SmartMusic offers right away in the Spring, however. Second, there is going to be a changing of price structure and registration of SmartMusic from per-computer to per-person. There will be news releases from MakeMusic about all these things in coming weeks–as well as new branding for the company.
• I love networking. MMEA is my home turf, so I when I attend MMEA, I know a lot of people that I’ve met over the years. Meanwhile, TMEA and TI:ME was all new territory for me. It was a great joy to be able to visit with people that I follow on Twitter and via their blog posts, including Catie Dwinal, Sarah Mayer (admittedly, I had met Sarah at WMEA), Stephanie Sanders (I don’t think she has a blog, but can be found at @Stephdon on Twitter), Barbara Freedman, and the combination of Dr. Joseph Pisano, Amy Burns, and Richard McCready (these folks all blog at mustech.net). These are the some of the “major” players in this field of music education technology, mostly located on the East side of the USA. It was a pleasure to meet more of my peers in this field–and even more enjoyable to hear contrasting ideas about how things should be done in music ed tech. That’s how we learn–new ideas from new people, mainly coming from networking. Also, there was a special surprise for me at MMEA where I finally had the chance to meet Susan Bujold, the choir director at Hertiage Middle School (West St. Paul, MN), who teaches at a 1:1 iPad school, and uses those iPads in choir. She is a member of TI:ME, and it is wonderful to know that I have another expert in the field of music education technology within driving distance. I’m looking forward to future collaboration with her, as she teaches middle school (I do not) and she has 1:1 experience (I do not).
• In regards to my new friends at TI:ME, I was particularly impressed in how they welcome new members and young members, and counsel them in their activities–as well as how to start to turn some of this work into some kind of financial benefit. It was visible mentoring–a wonderful thing to see! Some organizations ignore young teachers…TI:ME embraces all. I’ve seen it in action.
• My favorite statement from an attendee at one of my presentations: “I have two things to immediately apply on Tuesday when we get back to school.” I love hearing that.
• That said, If anyone that attended a session–and enjoyed it/learned from it/benefitted from it–and would be willing to send me an e-mail with positive comments, I would like to start a list of comments that I can put on the blog and also include with applications as I apply to speak at other conventions.
• As you attend these conferences, remember that most of the presenters–unless they represent a specific company or publisher–are not paid for presenting, and in fact, often have to use their own personal time (sometimes leave without pay), they have to pay for their transportation [and flights] and hotels, and they even pay the standard convention fee and professional organization dues. I’m asked quite often how much I get paid to present, and the answer is that I pay in order to present. I do so partially to give back to my profession (which is why this blog is free) but also to open future doors. So…if you ever attend a “rough” session (they happen!)–keep in mind that the presenter is doing so on their own time and dollar–and be kind!
• The biggest surprise from one of my sessions: experiencing my first regional app. As I mentioned a few posts ago, I was contacted by nine people about the Tonal Energy Tuner, which was developed by the creator of Thumb Jam, and created by a Texan. It’s a good app ($3.99 right now), but the regional loyalty to the app was surprising. I’ll be mentioning the Tonal Energy Tuner wherever I speak from now on!
• New toys: I left TMEA with three new toys. First, I now own an AirTurn device. I won’t tell the whole story, but I also left without my PageFlip device, and I learned some bad things about the background of the PageFlip device. Second (and third), I now own a GigEasy iPad holder, as well as a portable microphone stand. I’ll have to buy a second GigEasy to use at school for student check-in with QR codes.
• Finally, again, just a word of gratitude to all of my colleagues who are so open to the technology which is so rapidly changing education (as a whole) and has the potential to radically change how we “do” music education–not for the sake of change, but because it will enhance education, and help us to take our students further than we ever have before. What a great time to be a music teacher!

San Antonio at night

The River Walk at night in San Antonio–Beautiful!

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