Roland MTLC-16 manuale d’uso

®ÂØÒňΠRoland Corporation U.S., 5100 S. Eastern Avenue, Los Angeles CA 90040-2936 www .rolandus.com MTLC-16 ®ÂØÒňΠ® ® Music T utor Lab Controller Owner ’ s Manual and User ’ s Guide 2944US Copyright © 2001 ROLAND CORPORA TION All rights reserved. No part of this publication may be reproduced in any form without the written p[...]

Educator ’ s Foreword 1 W elcome to the Roland family! W e want to thank you for making the Roland MTLC-16 Lab Communication Console a vital part of your classroom envir onment. As educators in the 21st-century , we are faced with ever -growing competition for our students’ time and focus. Listening to CDs and MP3s, watching movies and videos, [...]

2 MTLC-16 Features What Is It? The MTLC-16 is an integrated stereo har dware/software lab teaching system that includes animated music notation, an electronic gradebook, and drag ‘n’ dr op classroom management tools. It consists of several integrated components. The MTLC-16 is a “break-out” pr oduct for group piano teaching. It features ste[...]

MTLC-16 Features 3 What Is Included? The MTLC-16 Music T utor Lab Controller is accompanied by a complete package of hardwar e, software, cables, and headphone/microphones, and compr ehensive print materials—everything you need, whether you are a veteran group piano pedagogue, or a college/university teaching assistant conducting your very first [...]

MTLC-16 Features 4 What Are the Options? There ar e several options to optimize your teaching lab. Y ou may use standard recor ding technologies like cassette and CD-players, or add a hard-disk r ecorder for even more advanced functions. However , while the Monitor section below lists options, please consider the visual monitors carefully—since s[...]

Contents 5 Educator ’ s Foreword .....................................................................................1 MTLC-16 Features ..........................................................................................2 What Is It? ...........................................................................................................[...]

1 [T ape In] Button Broadcasts audio fr om any external audio source (e.g. tape player , CD player , or rhythm machine) to all head- phones. When this button is engaged, each student can listen to and play along with the audio material. Pressing this button cancels the “Aux In” button (page 24). 2 [Aux In] Button Broadcasts audio fr om any exte[...]

teacher ’s micr ophone (page 21). 8 [Mute] Button Silences all student instruments. When this button is engaged, students can only listen to the teacher ’s instru- ment and microphone, or external audio material via “T ape In” or “Aux In” (page 25). 9 [Mic] Button Activates the teacher ’s micr ophone. When this button is engaged, the [...]

Music Lab Installation Room Preparation When preparing a music teaching lab, ther e are many factors to consider . For example, the size and shape of the room, the availability of lighting and power outlets, as well as a room’s ventilation and temperatur e control need to be addressed. Please consider the following physical and electrical r equir[...]

Music Lab Installation Guide 9 MTLC-16 Lab Communication Console .........................................................................................................(1) MTLC-16 AC Adapter .......................................................................................................................................(1) MTLC-1 Student Com[...]

Music Lab Installation Guide • Set the “Master On/Off” button on the MTLC-16 to the “On” (“Master”) position. • Connect the optional computer to the “T o Computer” jack on the MTLC-16 using the supplied 9-pin serial cable. If sound from the computer (i.e. SMF playback) needs to be br oadcast to the class, connect the computer ?[...]

Music Lab Installation Guide 11 • External Playback/Recording Device(s) • V isual Monitor(s) • Computer • MTLC-16 • Audio Monitor(s) T est the T eacher ’ s Station A) Set the output level on the teacher ’s instrument to maximum (this gives the best signal-to-noise r esponse.) B) Set the “Mic”, “Inst”, and “Phones” sliders [...]

Developing Solid Reading Skills T o pass a school’s piano proficiency exam, one typically needs to play the Star-Spangled Banner , demonstrate basic har- monization and improvisation skills, and perform two-handed keyboar d pieces. All these tasks r equire two basic skills: READING and RESPONDING accurately , in time. It is suggested that develop[...]

The Visual Music T utor Advantage 13 Making Reading More Successful—A Few Tips It is beyond the scope of this brief text to outline everything involved in developing sightreading technique, but her e are a few pointers that can be practically implemented in every MTLC-equipped piano lab, as well as being used in every computer- or disk-assisted r[...]

The Visual Music T utor Advantage 14 P ARALLEL SIGHTREADING methods—The Best Readers are Frequent Readers Good reading habits will be str engthened further by using the following two strategies: 1) insisting that the class methods and materials have correlating disks, and 2) have students r ead through other parallel methods with visual/SMF guida[...]

Sur vival Checklist–Before the Class ❏ T wo months before: Order your texts and disks. As stated in the previous chapter , it is imperative that you use the basic technology of an SMF-accompanied text. Several publishers' texts with accompanying disks are listed below . • Alfred Basic Group Piano Course , Books 1-4 Group Piano for Adults[...]

Surviving Y our First Class 16 The Class Make certain you have the following materials conveniently located. A) Printed materials: teacher ’s books and disks, and all r elevant handouts B) V erify that students have all their materials 1) T ext with interactive disks 2) V -MT1 3) Additional SMFs/Books per syllabus T alking to the class: T o survi[...]

Surviving Y our First Class 17 C) When the actual playing begins, the eyes have read the score several times, and the fingers have been “itching” to play D) Using various tempi & track configurations 1) SLOWL Y , without SMF , either hands separately or together 2) Increase tempo gradually as skill permits 3) Add rhythm track (T rack R) a) [...]

Surviving Y our First Class 18 6) Find difficult spots & use Markers a) Set Marker A b) Set Marker B c) T urn on Repeat or “loop” button, and practice this spot until it is polished d) T urn Repeat button off, and continue playing e) Clear Markers A & B F) Play a tempo 1) Since you are near -perfection now , congratulate yourself, or 2)[...]

The Lab Communication Console is the heart of the MTLC-16 Music Lab. It provides r outing capabilities similar to those of a telephone switchboard. For example, when a teacher needs to hear a particular student, or gr oup of students, he or she can do so from the MTLC-16. When a teacher needs to arrange the class into four gr oups of four for quart[...]

Operating the MTLC-16 20 Single Student Practice Purpose Allows students to practice privately . Procedur e The controller defaults to this mode when the power is turned on and no buttons ar e pressed. Details This application is most commonly used for single student practice. However , the teacher can monitor or communicate with any student by fol[...]

Operating the MTLC-16 21 Group Practice Purpose Allows student groups to practice privately . Procedur e A) Assign student(s) to a group i) While holding down a “Group Assign” button (A, B, C, or D), press a student’s number button (“1-16”) on the lower row of the MTLC-16. ii) Repeat for each student in the group. B) Unassign student(s) f[...]

Operating the MTLC-16 22 Details This application is most commonly used for monitoring or communicating with a single group while the r emaining groups practice privately . However , the teacher can monitor or communicate with several groups simultaneously by selecting several “Group Comm” buttons. • Each student assigned to a selected group [...]

Operating the MTLC-16 23 Details This application is most commonly used for monitoring or communicating with a single pair while the remaining pairs practice privately . However , the teacher can monitor or communicate with several pairs simultaneously by selecting several student number buttons. • Each student pair hears: the instrument and micr[...]

Operating the MTLC-16 24 C) Press several student number buttons to broadcast multiple students to the class. Details This application is most commonly used for broadcasting a single student’s instr ument and microphone to the class. However , the teacher can broadcast several students simultaneously by selecting several student number buttons. ?[...]

Operating the MTLC-16 25 Lab Per formance Recording Purpose Allows the teacher to recor d: the teacher ’s instrument and microphone, a selected student’s instr ument and micro- phone, a selected pair ’s instrument and micr ophone, a selected group’s instruments and micr ophones, and/or an external audio source. Procedur e A) Be sure an exte[...]

Operating the MTLC-16 26 Details This application is most commonly used for muting student instruments while the teacher is demonstrating. However , selected student instruments can be un-muted (while the others r emain muted) by pressing the student’s number but- ton. • All students hear: the teachers instrument and micr ophone, and/or an exte[...]

The V irtual Communication Console (VMTLC-16) is a computer-based r emote control for the MTLC-16’s Lab Communication Console and more. It not only pr ovides remote control of the Lab Communication Console, but also adds classroom customization and gradebook options. For example, when a teacher needs to hear a particular student play along with a[...]

Operating the V irtual MTLC-16 28 Mic A) Click the “Mic” button icon, or B) Click “Options” in the menu-bar and select “Mic,” or C) Press Alt+O and then use the arrow keys to select “Mic,” or D) Press Ctrl+M. Mute A) Click the “Mute” button icon, or B) Click “Options” in the menu-bar and select “Mute,” or C) Press Alt+O [...]

Operating the V irtual MTLC-16 29 Static/Adjustable – VMTLC-16 Display Customization When the VMTLC-16 software is loaded, the computer scr een should be in the “Static” mode. This means the computer screen looks and functions like its har dware counterpart, the MTLC-16 Communication Console. However , when you click “Adjustable” in the m[...]

Operating the V irtual MTLC-16 30 Classroom Management Roster – Adding Student Names A) Right-click on a student station icon (over the keyboard icon not the student station number .) B) T ype the student’s name in the pop-up dialogue box: first name first, followed by a space, and then the last name (NOTE: only letters and numbers are allowed.[...]

Operating the V irtual MTLC-16 31 Delete Class Deletes the current classr oom configuration file from the computer ’s disk drive. A) Click “File” in the menu-bar and select “Delete Class,” or B) Press Alt+F and then press “D,” or C) Press Alt+F and then use the arrow keys to select “Delete Class.” D) Click the class name and press[...]

Operating the V irtual MTLC-16 32 Notes Column Allows the teacher to enter notes (e.g. “Needs two-hand work,” “Don’t forget to test!,” etc.) for each student. A) Click a student name in the student name box located in the upper left corner of the screen. B) Click a blank cell in the Notes Column. C) T ype a note. D) Press “T ab.” A ve[...]

MIDI Song Files, Notation and WYSIWYG*—the Visual Imperative Soon after MIDI (Musical Instrument Digital Interface) was intr oduced in 1983, software publishers began using MIDI’s power to display notes of a song file as graphic, print-worthy notation—instant music publishing. Finale ® and Sibelius ® are but two examples of successful music[...]

Operating the VMT -1 (Visual Music T utor) 34 Function 2 (F2) the Notation View F2 is the first “notation view” that will visually guide the student as s/he learns or plays along with an SMF . This view displays the music notation of any music file, and can be re-sized in two ways: the actual notehead size can be enlar ged or reduced, and each [...]

Operating the VMT -1 (Visual Music T utor) 35 Function 4 (F4) the T one or “Mixer” Window In addition to all the interactive playback functions—tempo, track mute and transpo- sition, this window allows the learner to focus on one particular track at a time, to play along, to change timbre, or print out that one part. In addition, the easily u[...]

When piano teachers begin teaching in groups, they r eal- ize a number of differ ences between private lessons and “instructing the masses.” Because of this, many articles and books have been written to describe effective tech- niques for class teaching. The following annotated bibli- ography first appeared in the W inter 2001 Roland Keyboard E[...]

from private to group teaching. Musicianship classes, repertoire class- es, ensemble work, and technique sessions are offered as ways of blending private and group instruction. Particularly useful is the second half of the article, which goes into detail concerning the group teaching skills needed by the effective class teacher . Grouping technique[...]

piano with beginners, but Johnson describes her favorable use of group instruction with intermediate and advanced students as well. The benefits of group study to younger students apply equally to older chil- dren and youth. Among these benefits, Johnson mentions increased knowledge of repertoire, development of musicianship, improved listen- ing s[...]

Bastien, James W . How to T each Piano Successfully , 3rd ed. San Diego, CA: Neil A. Kjos Music Co., 1995. This pedagogy text presents what is perhaps the most comprehensive information available about group piano study . T aken into account are multiple levels of group study , issues pertaining to the group environ- ment and student involvement, a[...]

ed planning form is found at the end of the chapter . Mehr , Norman. Group Piano T eaching . Evanston, IL: Summy-Birchard Co., 1965. This practical handbook for the group teacher approaches group study on a philosophical and educational level. The first chapter , “The Dynamics of Group T eaching,” explores the variables at work in group interac[...]

Disser tations and Theses Diehl, Lily Pan. An Investigation of the Relative Effectiveness of Group and Individual Piano Instruction on Y oung Beginners in an Independent Music Studio Utilizing an Electropiano Laboratory . D.M.A. diss., University of Southern California, 1980. This research study focuses on the effects of group and individual piano [...]

areas of their lives. They incorporate more musicianship classes, improvisation, accompanying, harmonization, ensemble work, theory and ear training into their lessons than does the typical private teacher . The last section covers almost every notable facet of group instruction of interest to the independent teacher . T opics range from the teache[...]

Installing the USB MIDISpor t Interface Because the V irtual MTLC-16 software connects the serial port of the computer with the serial port on the MTLC-16 to synchronize the softwar e and hardware, it is essential that you connect the computer with the teacher's keyboar d via a suitable MIDI interface. Since the serial port is already occupied[...]

Appendix 44 Using the MIDISpor t with your MTLC-16 1) After the MIDISPOR T driver has been installed, you will need to select that interface in the V isual Music T utor (V -MT1) software. 2) Open the V -MT1 software and navigate the File menu until you see the Options menu 3) Use the Options menu to pull down the Connection Setup option 4) Then pro[...]

JL Cooper Electr onics Limited F actor y W arranty JLCooper Electr onics (“JLCooper ”) warrants this product to be free of defects in materials or workmanship for a period of 12 months from the date of purchase. This warranty is non-transferable and the benefits apply to the original owner . Proof of purchase in the form of an itemiz ed sales r[...]

[...]

®ÂØÒňΠRoland Corporation U.S., 5100 S. Eastern Avenue, Los Angeles CA 90040-2936 www .rolandus.com MTLC-16 ®ÂØÒňΠ® ® Music T utor Lab Controller Owner ’ s Manual and User ’ s Guide 2944US Copyright © 2001 ROLAND CORPORA TION All rights reserved. No part of this publication may be reproduced in any form without the written p[...]