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Does CAI really work?

Does computer-assisted instruction (CAI) really work? Scores of professionals believe that CAI works, because they see their students doing exciting musical things. For example, almost all of the third, fourth, and fifth graders who couldn't match pitches in Joyce Woods' Roanoke, Virginia, classes learned to sing in tune in less than three hours of CAI. With the CAI system she uses, there is visual evidence of in-tune and out-of-tune singing. There has never been enough class time to provide the remedial tutoring urgently needed by 25 to 30 percent of her elementary school children. Now CAI does the remedial job, and almost all students can actively participate in the music program. Greg Thomas of Albermarle County, Virginia, found that roughly 70 percent of his band rehearsal was spent helping students play the correct rhythms and find the right place. He turned to CAI to teach rhythm performance skills and found that he had added one-third more playing time in rehearsals and a lot more musicianship. The 564th Air Force Band at Langley Field, Langley, Virginia, is one of the top bands in the world. Major Lowell Graham, commander/ conductor of the band, relies on CAI to polish personal reading skills to the performance level required by the band. "It could almost eliminate the need for redundancy in rehearsals," he says. The TAP Master, an analog CAI system, is a key element in all Air Force on-thejob training and audition programs for bandsmen. At Virginia Commonwealth University, Richmond, freshman music majors must pass demanding competencies in sight singing, rhythm reading, melodic dictation, harmonic dictation, and musical style. Since the drills for these basic skills were moved from the classroom to the CAI music lab, most of the students complete their competencies in one semester instead of two; class time is now spent in practicing those real musical behaviorscomposing, interpreting, arranging, and conducting-that demand and hone the skills acquired through CAI. In the instrumental program at Verona, Wisconsin, David Otterson has isolated technical versus musical skills. He now works with students to achieve musical skills, and assigns CAI programs to overcome technical skill problems. CAI can be a vital aid in the teaching-learning process. However, any determination of the potential effectiveness of CAI in a particular music classroom situation involves much more than just computer hardware and software. The outcome will be contingent very largely on the teacher, the educational goals of the music program, and the nature of the learning environment into which CAI is introduced. The vast majority of CAI programs deal with the development of operational skills in music. The programs are designed to foster the skills of hearing and singing in tune, sight singing, rhythm reading and writing, melodic and harmonic dictation, and a host of notational practices such as scale constructions and chord configurations. In other words, CAI appears to be effective in building various facets of auditory memory and the application of that memory in pitch and durational discrimination. It also assists students in achieving accuracy in vocal pitch production, and developing graphic and charting skills as they apply to the staff and notational symbols. In addition, there are programs that build those