®ÂØÒňΠ® MTLC-16 Music Tutor Lab Controller Owner’s Manual and User’s Guide ®ÂØÒňΠ® Roland Corporation U.S., 5100 S. Eastern Avenue, Los Angeles CA 90040-2936 www.rolandus.com 2944US Copyright © 2001 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
Educator’s Foreword Welcome to the Roland family! We want to thank you for making the Roland MTLC-16 Lab Communication Console a vital part of your classroom environment. 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, and interacting with computers and the Internet, are all examples of activities that are replacing the time students used to spend learning musical instruments.
MTLC-16 Features What Is It? The MTLC-16 is an integrated stereo hardware/software lab teaching system that includes animated music notation, an electronic gradebook, and drag ‘n’ drop classroom management tools. It consists of several integrated components. The MTLC-16 is a “break-out” product for group piano teaching. It features stereo sound, computerized record-keeping, and most important—visual display of all music lessons and literature.
MTLC-16 Features What Is Included? The MTLC-16 Music Tutor Lab Controller is accompanied by a complete package of hardware, software, cables, and headphone/microphones, and comprehensive print materials—everything you need, whether you are a veteran group piano pedagogue, or a college/university teaching assistant conducting your very first class. Particularly important are the print materials, written by experienced keyboard educators.
MTLC-16 Features What Are the Options? There are several options to optimize your teaching lab. You may use standard recording technologies like cassette and CD-players, or add a hard-disk recorder for even more advanced functions. However, while the Monitor section below lists options, please consider the visual monitors carefully—since students will be following these visual displays very closely in each class.
Contents Educator’s Foreword .....................................................................................1 MTLC-16 Features ..........................................................................................2 What Is It?....................................................................................................................................................................2 What Is Included?.............................................................................................
Names of Things and What They Do 1 [Tape In] Button Broadcasts audio from any external audio source (e.g. tape player, CD player, or rhythm machine) to all headphones. 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 from any external audio source (e.g. tape player, CD player, or rhythm machine) to all headphones.
Names of Things and What They Do teacher’s microphone (page 21). 17 [Power Jack] 8 [Mute] Button Connects the MTLC-16 to the supplied AC power adapter. Silences all student instruments. When this button is engaged, students can only listen to the teacher’s instrument and microphone, or external audio material via “Tape In” or “Aux In” (page 25). 18 [Mon. Out] Jacks 9 [Mic] Button Activates the teacher’s microphone.
Music Lab Installation Guide Music Lab Installation Room Preparation When preparing a music teaching lab, there 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 temperature control need to be addressed. Please consider the following physical and electrical requirements before installing your music teaching lab.
Music Lab Installation Guide MTLC-16 Lab Communication Console .........................................................................................................(1) MTLC-16 AC Adapter .......................................................................................................................................(1) MTLC-1 Student Communication Boxes........................................................................................................(16) RJ-45 Telephone-Type Connectors........
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 “To 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 broadcast to the class, connect the computer’s headphone output to the “Aux. In” jack on the MTLC-16 using the appropriate cable (e.g. 1/8” to RCA cable.
Music Lab Installation Guide • External Playback/Recording Device(s) • Visual Monitor(s) • Computer • MTLC-16 • Audio Monitor(s) Test the Teacher’s Station A) Set the output level on the teacher’s instrument to maximum (this gives the best signal-to-noise response.) B) Set the “Mic”, “Inst”, and “Phones” sliders on the MTLC-16 to their maximum setting. C) Put on the teacher’s headset and play a few notes on the teacher’s instrument. You should hear what you are playing.
Chap. 1–The Visual Music Tutor Advantage Developing Solid Reading Skills To pass a school’s piano proficiency exam, one typically needs to play the Star-Spangled Banner, demonstrate basic harmonization and improvisation skills, and perform two-handed keyboard pieces. All these tasks require two basic skills: READING and RESPONDING accurately, in time.
The Visual Music Tutor Advantage 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 here 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 rehearsal session. PREVIEW playing If you look before you leap, you will not be surprised.
The Visual Music Tutor Advantage PARALLEL SIGHTREADING methods—The Best Readers are Frequent Readers Good reading habits will be strengthened further by using the following two strategies: 1) insisting that the class methods and materials have correlating disks, and 2) have students read through other parallel methods with visual/SMF guidance.
Chap. 2–Surviving Your First Class Survival Checklist–Before the Class ❏ Two 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.
Surviving Your First Class The Class Make certain you have the following materials conveniently located. A) Printed materials: teacher’s books and disks, and all relevant handouts B) Verify that students have all their materials 1) Text with interactive disks 2) V-MT1 3) Additional SMFs/Books per syllabus Talking to the class: To survive the first round of teacher-class communication, press ALL and the Microphone button; now the student can hear both your instrument and your voice.
Surviving Your First Class 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) SLOWLY, without SMF, either hands separately or together 2) Increase tempo gradually as skill permits 3) Add rhythm track (Track R) a) Slow R.H. b) Slow L.H. 4) Add orchestra track (Track 2) a) Slow R.H. b) Slow L.H.
Surviving Your First Class 6) Find difficult spots & use Markers a) Set Marker A b) Set Marker B c) Turn on Repeat or “loop” button, and practice this spot until it is polished d) Turn 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) Locate remaining difficult spots and user Markers A & B for additional spot practice 18
Chap. 3–Operating the MTLC-16 The Lab Communication Console is the heart of the MTLC-16 Music Lab. It provides routing capabilities similar to those of a telephone switchboard. For example, when a teacher needs to hear a particular student, or group of students, he or she can do so from the MTLC-16. When a teacher needs to arrange the class into four groups of four for quartetstyle playing, he or she can do so from the MTLC-16.
Operating the MTLC-16 Single Student Practice Purpose Allows students to practice privately. Procedure The controller defaults to this mode when the power is turned on and no buttons are pressed. Details This application is most commonly used for single student practice. However, the teacher can monitor or communicate with any student by following the instructions for “Single and Multiple Student Monitoring and Communication.” • Each student hears: only his or her own instrument and microphone.
Operating the MTLC-16 Group Practice Purpose Allows student groups to practice privately. Procedure 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.
Operating the MTLC-16 Details This application is most commonly used for monitoring or communicating with a single group while the remaining 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 hears: the teacher’s instrument and microphone, the instruments and microphones of other students assigned to the group, and his or her own instrument and microphone.
Operating the MTLC-16 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 microphone of the teacher, the instrument and microphone of the adjacent student, and his or her own instrument and microphone.
Operating the MTLC-16 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 instrument and microphone to the class. However, the teacher can broadcast several students simultaneously by selecting several student number buttons. • The selected student hears: the teacher’s instrument and microphone, and his or her own instrument and microphone.
Operating the MTLC-16 Lab Performance Recording Purpose Allows the teacher to record: the teacher’s instrument and microphone, a selected student’s instrument and microphone, a selected pair’s instrument and microphone, a selected group’s instruments and microphones, and/or an external audio source. Procedure A) Be sure an external audio player/recorder is connected to the “REC. OUT” jacks on the back of the MTLC-16 as described in the “Music Lab Installation Guide.
Operating the MTLC-16 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 remain muted) by pressing the student’s number button. • All students hear: the teachers instrument and microphone, and/or an external audio source (if “Tape In” or “Aux In” is depressed.
Chap. 4–Operating the Virtual MTLC-16 The Virtual Communication Console (VMTLC-16) is a computer-based remote control for the MTLC-16’s Lab Communication Console and more. It not only provides 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 standard MIDI file orchestration, he or she can do so from a computer without touching the Lab Communication Console.
Operating the Virtual MTLC-16 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 and then use the arrow keys to select “Mute,” or D) Press Ctrl+U.
Operating the Virtual MTLC-16 Static/Adjustable – VMTLC-16 Display Customization When the VMTLC-16 software is loaded, the computer screen should be in the “Static” mode. This means the computer screen looks and functions like its hardware counterpart, the MTLC-16 Communication Console. However, when you click “Adjustable” in the menu-bar, the computer screen switches to the “Adjustable” mode.
Operating the Virtual MTLC-16 Classroom Management Roster – Adding Student Names A) Right-click on a student station icon (over the keyboard icon not the student station number.) B) Type 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.) C) Press “enter.” The student’s first name should now appear under the student station icon.
Operating the Virtual MTLC-16 Delete Class Deletes the current classroom 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 enter (or click “OK.”) Exit Closes the current classroom configuration file and the VMTLC-16 Software.
Operating the Virtual MTLC-16 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) Type a note. D) Press “Tab.” Average Column Numbered scores from the “Score Column” are averaged in this column. [Print Student] Button Prints the selected student’s gradebook records.
Chap. 5–Operating the V-MT1 (Visual Music Tutor) MIDI Song Files, Notation and WYSIWYG*—the Visual Imperative Soon after MIDI (Musical Instrument Digital Interface) was introduced 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 notation companies. But the primary output of these programs—and sequencing programs—is the static, printed page.
Operating the VMT-1 (Visual Music Tutor) 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 enlarged or reduced, and each measure can be made wider or narrower.
Operating the VMT-1 (Visual Music Tutor) Function 4 (F4) the Tone or “Mixer” Window In addition to all the interactive playback functions—tempo, track mute and transposition, 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 used “mixer” allows users to re-balance the volume levels, re-orchestrate the recording, or solo any individual part.
Annotated Group Teaching Bibliography When piano teachers begin teaching in groups, they realize a number of differences between private lessons and “instructing the masses.” Because of this, many articles and books have been written to describe effective techniques for class teaching. The following annotated bibliography first appeared in the Winter 2001 Roland Keyboard Educator. It is reprinted by permission. Group piano instruction is currently experiencing a resurgence of attention in the United States.
Annotated Group Teaching Bibliography from private to group teaching. Musicianship classes, repertoire classes, 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 techniques, lesson organization, understanding the learning process, and leading the group are all carefully explained.
Annotated Group Teaching Bibliography 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 children and youth.
Annotated Group Teaching Bibliography Bastien, James W. How to Teach 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. Taken into account are multiple levels of group study, issues pertaining to the group environment and student involvement, and examples illustrating the many points made by Bastien. A few chapters in particular focus on the group process.
Annotated Group Teaching Bibliography ed planning form is found at the end of the chapter. Mehr, Norman. Group Piano Teaching. 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 Teaching,” explores the variables at work in group interaction. Chapter two, “Philosophy and Psychology of Music Education,” presents general concepts of learning theory and process.
Annotated Group Teaching Bibliography Dissertations and Theses Diehl, Lily Pan. An Investigation of the Relative Effectiveness of Group and Individual Piano Instruction on Young 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 instruction on musical achievement for piano students ranging from the ages of six and a half to nine and a half.
Annotated Group Teaching Bibliography 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. Topics range from the teacher’s personal qualifications to forming and maintaining groups of piano students.
Appendix Installing the USB MIDISport Interface Because the Virtual MTLC-16 software connects the serial port of the computer with the serial port on the MTLC-16 to synchronize the software and hardware, it is essential that you connect the computer with the teacher's keyboard via a suitable MIDI interface. Since the serial port is already occupied, the practical options are either the parallel (printer) or the USB port.
Appendix Using the MIDISport with your MTLC-16 1) After the MIDISPORT driver has been installed, you will need to select that interface in the Visual Music Tutor (V-MT1) software.
Appendix JLCooper Electronics Limited Factory Warranty JLCooper Electronics (“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 itemized sales receipt is required for warranty coverage.
®ÂØÒňΠ® MTLC-16 Music Tutor Lab Controller Owner’s Manual and User’s Guide ®ÂØÒňΠ® Roland Corporation U.S., 5100 S. Eastern Avenue, Los Angeles CA 90040-2936 www.rolandus.com 2944US Copyright © 2001 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
