For anyone looking for this kind of tool, I recommend checking out ViDL for downloading video content from websites on to your computer.
ViDL for Mac - Download Web Videos Easily:
ViDL is a free Mac app that allows you to easily download videos from YouTube and hundreds of other websites for offline viewing.
It is based on the popular youtube-dlcommand line tool, but much easier to use, especially with videos/playlists that require a login (like your personal "Watch Later" list).
Andrew Hitz brings the truth…
Free Masterclass on Groove — Andrew Hitz:
If you go deep (Sam Pilafian's take on deep listening - headphones, eyes closed, phone on airplane mode) and truly get lost in it, I guarantee you that your Fountains of Rome or your Bolero or your whatever will be better on the other side of it. Full stop.
Music theorist Megan Megan Lavengood recently took to Twitter to try and identify all of the songs on a Baby Einstein toy.
It’s a particularly fun read, and I had an especially good time with it since we have this toy and our 1.5 year old has played with it off and on since birth.
Click the link below to read the entire thing. It comes complete with audio examples of the toy and a Spotify playlist of all the pieces of music they are based on.
What actually are all these songs on the Baby Einstein Take Along Tunes toy? – Megan L. Lavengood:
For the uninitiated, the Take Along Tunes toy plays a series of excerpts from Classical- and Baroque-era (mostly) orchestral works while flashing colored lights; its purpose is to distract and occupy your baby while you’re forcing them to do something they don’t particularly enjoy (in our case, diaper changes). As musical toys go, it’s really not annoying, because the tunes are pleasant and the excerpts are long enough not to drive you up the wall with repetitiveness.
While there are some obvious, Greatest-Hits-of-the-Classical-Era-type selections (William Tell, Eine Kleine Nachtmusik), some other excerpts stumped me.
The Dorico team has been hard at work since their release of Dorico for iPad.
In case you missed it, Dorico for iPad 1.1 is out. It removes the 12 player limit for subscribers. That, plus many smaller tweaks and bug fixes.
Want to learn more about Dorico for iPad? I've got a post, video, and interview with Daniel Spreadbury, their Product Marketing Manager, here.
And just like that, Sibelius has their own iPad app. This comes after yesterday’s news that Dorico has released a desktop-class iPad app. If you want to learn more about that, click that link. I have some early first impressions, a video, and a podcast interview with Product Marketing Manager Daniel Spreadbury.
I don’t have much to say about Sibelius coming to iPad because I didn’t have any access to it before today, and because it hasn’t been my primary notation editor for years. But from 30 minutes of playing with it, it is pretty powerful and will certainly offer competition in this space, which is good! I want pro iPad apps to get better. The thing that is most impressive about it is how well adapted to the iPad it appears. It has multitasking, Files app integration, and some really intuitive touch/Apple Pencil touch gestures for note input that offer a new kind of ease and accuracy I wasn’t quite expecting.
You can watch a First Look video from Scoring Notes below and read their review here. You can download Sibelius for iPad here.
Listen to my podcast interview with Daniel Spreadbury (Product Marketing Manager) about Dorico for the iPad.
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Dorico for iPad is out today! You can read their announcement here. It's a desktop-class adaptation, which includes most of the features I need for my everyday work as a music teacher. I am beyond excited that a major professional scoring app has come to the iPad for two reasons:
I depend on iOS for getting much of my work done. There are still apps and workflows that require me to take out my Mac, and I am delighted whenever the release of a professional iPad app lessons these occurrences.
Our niche professional corner of the world is receiving legitimate, pro-featured, software for iPadOS, a market that is still light on “pro” software, even from Apple themselves (like, for real... where is Logic Pro on iPad?). While many "pro" iPad apps are companion experiences to bigger desktop versions, Dorico brings a whole lot of the power from its desktop app to its mobile version, proving that the iPad can be every bit as "pro" as its name suggests.
Dorico for iPad's free tier is similar to their free desktop offering Dorico SE, and an in-app subscription adds features comparable to their Dorico Elements version. The iPad app has new features, many of which are optimizations for touch, including several new input methods (piano, fretboard, drum pads, and a new Key Editor). Dorico for iPad doesn't do everything. Serious composers and power users might need the desktop for some things. For me, a middle school band director, it will fill most of my iOS composing needs.
There are some quirks due to Dorico not supporting features that make iPad apps feel like iPad apps: full Apple Pencil support, responsive touch gestures, file system integration, Magic Keyboard/trackpad support, and multitasking are examples of this. While there is room for improvement, it's bold for the Dorico team to pack a desktop-class experience into the first version. I am thankful for their hard work and wish the Dorico team future success on this project.
Watch Dorico for iPad in action.
When my long-time favorite iPad app (forScore) came to the Mac earlier this year, I wrote about it.
While forScore was one of the few remaining iPad apps I wanted on Mac, there are, similarly, plenty of Mac apps I would still love to see on iPad.
One could argue that with the latest iPad hardware (featuring M1 chips), there is no excuse for professional apps not to run on the platform. I agree! The iPad has more than enough processing power, all of the necessary input devices (if you have a keyboard and mouse), and even some things that the Mac doesn't have (like touch support and the Apple Pencil).
The issue of why the iPad lacks pro apps is too broad to cover here, but it has much to do with how Apple has positioned iPadOS and the App Store model over the past 10 years. It is becoming easier than ever to make a cross-platform app, but this doesn't change the fact that there are still some fundamentally dissimilar aspects of developing for iOS and macOS. The arguably bigger problem is that the App Store (even with fewer sandboxing limitations in recent years) is hostile towards the exact kind of developers who cater to niche professionals like composers and music teachers.
For example, companies who make digital audio workstations and notation editors have traditionally charged prices in the multiple hundreds of dollars, costs which the mobile market has decided is not acceptable. Such developers also offer things like crossgrade/upgrade/educational pricing, group licenses, and more. These are not feasible in the current-day App Store, and I think Apple is oblivious to keep calling the iPad Pro the iPad Pro while not providing more flexible App Store rules. This is not to mention that Apple hasn’t even brought their professional apps (Logic Pro, Final Cut Pro, and Xcode), to the iPad.
I am dependent on my iPad and prefer to work on it whenever possible. Its light form factor and simple operating system make me feel more nimble moving in and out of apps. Dorico has always been one of the reasons I have to take my Mac out of my bag when I am sitting on the couch wrapping up some school work late at night. Even though there are good score apps on iPad, the convenience of leaning back on the couch to get work done has been counterbalanced by needing to import and export XML files back and forth, just to get these apps to talk to Dorico on desktop.
It is within that context that I am pleased to say Dorico is available for iPad today. It's the first of the major professional desktop scoring apps to be released on a mobile platform, and after just a few weeks of use, I can tell that it will become my primary notation editor on iOS.
Because I am a music teacher, my opinions about scoring software are viewed through the lens of someone who does not depend on the entire feature set of Dorico, particularly engraving and playback. This means I usually need to get in and out of the program fast and that I am often performing tasks like writing scale exercises, reconstructing missing bass clarinet parts from my library, or adding percussion instruments to the score of a piece on our next concert. That said, I admire tools that empower me to work efficiently, and for notation, Dorico is that tool.
If you are looking for a professional composing perspective, and a more comprehensive feature overview, I recommend the Scoring Notes review of Dorico for iPad.
Dorico for iPad is an ambitious and stellar 1.0 that should make every developer of pro software take note and get to work.
The Dorico team has brought many of the core functions that make Dorico so powerful on Mac and Windows to the iPad version. All of the features I depend on are all there. It has keyboard input, powerful pop-overs, MIDI controller input, and all of the custom Notation and Layout Options that are available on desktop. It even has the same custom keyboard shortcut editor.
Dorico is available for free with a set of features very similar to their desktop offering Dorico SE. If you subscribe to the app through In-App Purchase, features are added which bring in line with the experience of using Dorico Elements.
Dorico for iPad has all of the modes you would expect: Setup, Write, Engrave, and Play. There is no Print mode and I don't miss it. All of the export options I use regularly are conveniently accessed through a share button in the upper right corner of the application. Play mode supports third-party iOS plugins. This is certainly more limiting than desktop, because iOS doesn’t support traditional VSTs, but this is also not a feature I take advantage of anyway.
Dorico for iPad is so much Dorico that it is hard to write about it without reviewing the existing desktop versions, which is not something I have set out to do here. That said, it is worth noting some of the things that are added for touch, and some of the quirks that result from a desktop app being so faithfully reproduced on a touch-based tablet.
One of the things that makes Dorico on iPad feel so faithful to the desktop version is that computer keyboard input is nearly identical with a Magic Keyboard attached. Once I got acclimated to the small differences in the user interface, I comfortably began recalling all the same shortcuts and workflows I am used to.
Because this version is designed to be used without the keyboard attached, there are some added on-screen buttons for touch control. Extra toolbar buttons for things like delete, repeat, undo, redo, and moving the arrow keys, are all included.
A floating toolbar, which can be moved around on the screen, allows common note adjustments to be made by finger. This toolbar includes things like moving a selected note up/down, shifting a selection of notes right or left by a 16th note, etc...
Holding on the score with one finger and then dragging displays a rectangle on-screen that can select multiple elements of the score at once. And there are also some new methods of touch input:
There will always be room for growth. What I want most from future iterations of Dorico on iPad can be best explained in the context of the forScore article I linked at the top of this post. forScore is a beloved app amongst musicians that is iPad-first but has recently been ported to the Mac through Apple's Catalyst technology. My TL;DR in my forScore Mac review was basically to say that it's amazing to have such an indispensable music app on Mac, even though it has some quirks relating to the fact that some iPad paradigms don't translate to the Mac.
My Dorico first impressions are more or less the inverse of that statement. Dorico for iPad is desktop-class. What I'd like to see from it down the road is to become more iPad-native through taking advantage of common features on the platform. Dorico is written using Qt, a development platform that makes it easy to write one code base for Windows and Mac. This same development platform is what made it easier to bring Dorico to the iPad now, but for this same reason, I can understand that the team had their hands full prioritizing the features for the first version.
Now that the iPad Pro has excellent trackpad, keyboard, and mouse support, I don't feel that different using it than I do my Mac in many instances. While Dorico's "desktop-ness" is its greatest strength, its fluency makes the missing iPad-isms more apparent. Here are a few:
Dorico doesn't have Apple Pencil support (with the exception of it imitating a touch in some circumstances).
Dorico does not work with the native File picker, which is to say that you can't open a Dorico project from your Dropbox or iCloud Drive within the Files app, edit it, and then save it back to the original location. You must instead import it from within the Dorico app, which then makes a copy inside of the app. You can export it back to the original location you pulled it from, but don't forget to delete the old copy! See an image below of OmniOutliner, a popular outlining app for iPad. When launched, it shows the same interface as the Files app. A document can be selected, edited, and saved back to the same location. I would love to see Dorico add this feature down the road.
The obvious elephant in the room is StaffPad. StaffPad is not always included in conversations about major pro notation software (Sibelius, Finale, Dorico), but relative to the power of most iPad software in the App Store, it deserves to be a part of the conversation. I covered StaffPad here.
StaffPad feels very iPad-native and supports a premium design experience and numerous pro-features, like, for example, a store of top-of-the-line audio plugins within the app.
While the comparison to Dorico is fair, I also feel like StaffPad is aiming for a different experience. Sure, they will compete to some extent, but StaffPad is aiming at new innovative methods of input, and high-end audio output that is all intuitively integrated into the same package. For example, StaffPad features Apple Pencil gestures for note input, exclusively, and a forthcoming feature will listen to you play an instrument in the microphone and transcribe you in real-time. StaffPad's third-party software instruments sound great and require little fuss to set up. It’s all a very iPad-first experience. But it's an iPad-only experience (unless you are also using it on Windows).
The strength of Dorico on iPad is that you are getting much of the power of the desktop version, on iOS. This means that there are some quirks, but that you are ultimately less inhibited by what you can produce. Dorico’s Engrave mode allows you to get more customizable, better looking, scores and note input in the Write mode is just as easy to do with a computer keyboard or MIDI controller as it is on a desktop.
I do appreciate the novelty of writing scores with the Apple Pencil. It feels nice. In fairness to Dorico, I wanted to see if I am more efficient using this method. I took about 10 excerpts from my music teaching resource library (music I would use a notation editor for in real life) and timed myself recreating these excerpts into both StaffPad and Dorico.
Much like using the self-checkout lane of a grocery store, I “felt” faster in StaffPad, but I was about twice as fast at note entry using Dorico in every instance. I was also 100 percent sure that the note I input would be the note that appeared on the screen.
I appreciate that there is competition in this space, and I think that stylus input has a place in the future of mobile score software. But I have shifted most of my score work on iOS to Dorico, and will probably continue to do so in the future. It sure is great having another professional Mac app on iPad. Here’s to hoping that my other tools like Logic, Final Cut, and Descript are next in line.
Thanks Dorico team for an ambitious and excellent release. I am looking forward to years of updates.
Thanks for coming to my session today! Below you will find links to everything mentioned in the session, and more!
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Making the Grade is a reoccurring weekly series on 9to5Mac written by Bradley Chambers. It typically features tech analysis concerning Apple's relationship to education.
I recommend subscribing to 9to5Mac on Twitter or in an RSS app (like Reeder 5) if you are interested in more. Here is a link to a recent article...
In the hours after the WWDC Keynote, there are always little “nuggets” of news that come out that didn’t make the event, but can often be pretty impactful because it can give you an idea of where Apple is moving in the future. When 9to5Mac first spotted the mention of the custom domains in iCloud in the moments after the Keynote, I knew immediately this was the first step to offering this service to schools
forScore has long been my most essential iPad app, and one of the few apps I consider iPad-first. This is to say that it is an app that takes specific advantage of the iPad’s strengths (form factor, pencil support, paper-like display, direct touch input) and leverages them in a way that makes the iPad feel essential.
For the same reasons it is essential on iPad, it has seemed slightly less essential on the iPhone (small screen size is impractical) and Mac (similarly, the design is not easy for direct manipulation, annotation, portability, or sticking on a music stand).
Still, an app this useful screams to be used cross-platform! The more I moved my sheet music library from PDFs on my hard drive to forScore, the more I found I needed to be able to work with the same library structure on my other devices. An iPhone is small, but there are those moments when it is the only device on you and you want to reference something really quickly. In a moment that my iPad battery once failed, I did conduct a percussion ensemble rehearsal from forScore on the iPhone.
In the same way that the iPhone is sometimes useful for being always the one in your pocket, the Mac is also useful sometimes. For example, file management is way easier on a Mac. No matter how many Mac features the iPad adds (drag and drop, Files app, etc.), it is simply not as easy as the Mac. Yes, the iPad can technically do the same things as the Mac in this regard, but it’s slower and more cumbersome. Furthermore, most users know how to use the Finder on Mac but don’t know how to work with the Files app on iPad, even though it is mostly the same these days.
It is actually possible to open forScore and the Files app side by side on the iPad. From there, you can drag and drop multiple files at once from one app to another.
I’d like to note that a year of teaching (mostly) online has sent me “back to the Mac,” so to speak. The Mac’s efficiency in multitasking, as well as its ability to run streaming apps like OBS and Loopback, has positioned it as my primary work device. Streaming forScore to my iPad’s screen to my Mac using OBS and AirServer is great, but it’s fiddly, indirect, and kills my iPad battery. It has become so much more direct to have forScore running right on the Mac, in the same place my other work is already happening.
In video conferencing apps like Zoom, I can now share music on the screen with my students directly, thanks to forScore running on my Mac.
The wait is over. Actually, it has been over since the fall. With the launch of macOS 11 Big Sur, forScore has released a universal version of their app on the Mac App Store. This means that it will be a free download for those who have purchased the app on iPad.
Note: I wrote most of this review fairly soon after release. Its scope is therefore more like what I would call “First Impressions.” I have been using it all school year long by the time I am actually posting this and think it is now more accurate to call it a review even though I will not be covering every detail comprehensively in the words below.
The goal of this review is to cover what’s unique about the Mac experience. If you want to learn more about forScore’s features, check out this excellent review by David MacDonald
For more on this subject (and speaking of David MacDonald), listen to my podcast review of forScore for Mac, where he was the guest.
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Having forScore on the Mac is a huge deal for me. I have been using it aggressively since the fall. It is on a shared screen during every band class and private percussion lesson I teach. Using it right on the Mac is just as easy as I expected.
All of the buttons, knobs, bells, whistles and user interface elements are exactly where you would expect them to be because it looks and feels like the iPad app. I will get into the implications of that in a moment.
Adding music to my library is now a breeze. Until this point, I have been storing all of my scores in a folder in iCloud Drive and then creating duplicate copies in the iPad version of my forScore library. This means that to share music on my Mac’s screen (without doing the AirPlay method above), I have to open the files in PDF Expert. They don’t have any of my indexes, metadata, or attached recordings. I cannot annotate them as I can in forScore, or use music stamps, and I cannot see them in the context of my organized setlist. It is in some ways like maintaining two separate libraries of the same stuff.
To make matters worse, iCloud Drive periodically decides to put some of my scores back in the cloud when I am low on space. When this happens, and I try to open a score from the Spotlight, even a score I used the day before, I will have to wait an extra-long time for my Mac to download the file before actually opening it.
I am happy to report that forScore on the Mac resolves these frustrations. Not only is it lightning-fast for me to get all of the scores that were not in my forScore database inside of it, but scores can also now sync across devices over iCloud. Using keyboard shortcuts like Command+Clicking, Command+Tabbing, and the precision of the keyboard and mouse, allowed me to easily drag and drop most of my remaining digital sheet music library straight into forScore from the Finder. I never pushed forScore too hard in this regard, but at one point, I dragged about 40 scores into forScore from the Finder at once and it handled them with a breeze. This is something the iPad would occasionally crash while trying to do.
The file import process I showed on the iPad above is far faster and more precise on macOS.
Because of this ease, finding duplicated, and deleting them was also easy. So was adding metadata. The Mac is now my preferred tool for doing this kind of logistic work in bulk.
forScore uses Apple’s Catalyst technology which means that Mac apps can share code with iPad apps. Apple introduced this at WWDC in 2019 and in the year that followed, relatively few apps made this transition. A notably good app using this technology is GoodNotes 5. They ditched their native Mac app in version 5 and decided to bring the iPad version over. GoodNotes is a good comparison to forScore, because its strength is, similarly, that it is a touch-first app that feels best when conceptualized as a digital “piece of paper.”
Catalyst apps can be automatically provided to the Mac by the developer with one press of a button, but they won’t be good experiences. Developers can do more work to have the app feel more like it belongs on the Mac, using things like the Touch Bar, custom Tool Bar elements, keyboard shortcuts, etc. The results have been lackluster. Still, having a Mac version of GoodNotes is better than not having one. And because it is an app I usually use on iPad, the need for the Mac version was more for reference.
GoodNotes 5 on the Mac. It looks good. But I am constantly forgetting whether to double or single tap on things because it behaves like an iPad app, but I have the conventions of a Mac hardwired into my brain when I am sitting in front of one.
This is an even weirder example of an iPad toolbar on Mac, but it brings GoodNotes to my Mac, and for that I am grateful.
At WWDC in 2020, Apple announced that more developer tools would be coming to Catalyst, so that it is easier to bring even more of the things that make Mac apps feel like Mac apps to your iPad version. They also announced that new Macs would be coming out (they shipped on November 17th) with new processors built by Apple. These new machines would be able to run native iOS apps without developers doing anything at all.
Steven Troughton Smith highlights these three methods on Twitter.
I imagine forScore went with the last of those three options for the Mac. Even though it feels like a mostly native experience, some things get weird.
With everything in macOS 11, it’s getting harder to define what Catalyst is. There are 3 forms:
— Steve Troughton-Smith (@stroughtonsmith) November 12, 2020
• Unmodified iOS apps (Apple Silicon-only)
• Traditional Catalyst apps (more Mac like, but blurry scaling)
• Optimized for Mac/Mac Idiom Catalyst apps (pixel perfect, Mac controls)
There are things about forScore on Mac that “look” like the iPad and things that “behave” like the iPad. The things that look like iPad are more forgivable.
For example, the toolbar of an iPad app looks distinct from that of the Mac. Apple is attempting to blur this distinction by redesigning their stock apps to have buttons that are made of thin-lined graphics, rather than appearing as press-able buttons.
The old macOS toolbar used to look like this.
By contrast, iOS apps that are brought to the Mac with Catalyst have a toolbar that looks like this.
The new macOS toolbar seeks to blur this distinction by bringing its own toolbar design closer to that of iPad apps.
iOS apps also have different pop-over style elements that feature a Cancel button in the upper left and a Done button in the upper right. These don’t feel Mac-like but they get the job done. You can, for example, still press Escape to dismiss them like you can on a Mac, though the difference in user interface might suggest otherwise.
Alerts and settings screens trip me up with Catalyst apps because they really make me feel like I am using an iPad.
By contrast, here is the user interface of the OmniFocus settings screen, which follows native Mac app conventions.
Here are some other details and quirks that highlight the varying degrees of success that forScore has at being Mac-like…
Windows can be resized on Mac. This is implemented pretty well in forScore. When the window is dragged to certain dimensions, the score will automatically decide if it is better to fit one or two pages of the score on the screen. As with an iPad, you can click the book-looking button to the left of the file’s title to force it to keep two pages on screen, regardless of window size. Tools in the toolbar also automatically disappear at smaller window sizes and reappear at larger ones.
forScore can do things on Mac it can’t do on iPad, like window resizing!
The Mac has the menu bar which exposes (in well-made software) all of the available actions in the app. This helps with discoverability and customization. Users can always find what they want from the menu bar and can set menu bar items as keyboard shortcuts in the System Preferences app. It is nice to see many of forScore’s options in the menu bar, but I am not certain that all of them are there. Fortunately, forScore for Mac has an area in settings that allows you to customize keyboard shortcuts for many of the app’s features.
You can set up custom keyboard shortcuts in forScore.
It’s really weird. Simply put, page navigation conventions that work on iPad do not always translate to the Mac. For example, touching and dragging the screen to turn pages is natural when you use your hand to turn the pages, but less so with a keyboard and mouse. Common Mac conventions like two-finger scrolling to swipe pages are implemented in forScore. But other things are weird. Two-finger scrolling feels more natural in other document-based apps like, for example, Preview. In forScore, you can pinch to zoom, but pages that are zoomed in larger than the window size take extra page-turning gestures to navigate. This if because forScore’s default behavior when you swipe is to show you whatever of the page is not on the display. This makes sense because in a performance you might want to zoom in closer to the music. When doing this, it makes sense that a one-touch gesture reveals the next part of the music (regardless of what page it is on), but in practice, this is not Mac-like. Any other app that deals with PDFs would show me the next page when I do the page turn gesture. This quirk is particularly weird if your score is just a few pixels taller than the window size you have set. Turning the page takes two swipes instead of one. The first swipe awkwardly jolts the screen down just enough to see the few missing pixels at the bottom of the screen, and the next swipe actually turns the page.
When my window is just too short, I have to turn the page twice, to turn it once. These kinds of quirks aren’t terrible, but when you encounter them, it’s easy to perceive the app as broken or untrustworthy.
The above-mentioned quirk is even weirder when you have zoomed in a lot. I do this often to focus my students on a particular excerpt of music. When scrolled in, there is (to my knowledge) no way to keep scrolling from the trackpad. You have to zoom out, turn the page, and then zoom in again. Contrast this with Preview, a native Mac app, which will just let me scroll freely through the document, no matter how far I have zoomed in.
I am pleased to say that searching for score files in Spotlight (Command+Spacebar) results in all my scores showing up, even chapter titles in an index of a larger score.
Mac apps tend to have sidebars that reveal list views and top-levels of organization hierarchy in an app. These can often be toggled on and off though I usually leave them on so I can get to things more quickly. forScore on the Mac supports the option to keep the sidebar permanently visible, so you can always see your library alongside whatever score is selected. Cool.
I like that the Mac version of forScore supports a permanently-visible left sidebar. I wouldn’t mind this feature on my 12.9 inch iPad Pro.
There are of course more Mac-like things to celebrate and more iPad-like things to question, but the bottom line is this: forScore is an app loved by musicians all over, and it is completely stellar that the developers dedicated time to bringing this application over. It is unknown if it would ever have happened without Apple’s Catalyst technology, but because of it, we get to have a pretty ok Mac app, where we otherwise would not. And having a pretty ok Mac version of an indispensable iPad app is… actually great! So thank you forScore team!
There are certainly more Mac apps that I would love to see on iOS than there are iOS apps I would like to see on the Mac, but the list is getting smaller.
Want more forScore? The second most popular post on this website for a long time was my tutorial for adding an index to large scores in forScore for iPad. Watch the video above.
Earlier in the summer I started a Patreon to gather some support for this blog and podcast. One of the perks that all levels get is to join the Music Ed Tech Talk Discord server where you can talk all about your favorite music, tech, and teaching practices.
So far I have a few supporters and there has been some pretty lively discussion, particularly about the subject of grading.
Some members of the Discord decided to read Ungrading together. Ungrading is a collection of short writings by teachers who have, in varying ways, decided to eliminate some (or all) of the grading from their teaching. It sounds extreme. But so far I am finding it more practical than expected. There is a lot you can take or leave from it.
We are running a public summer book club to talk about it. The book club is going to meet over the next month or so on Wednesday’s at 8:30 pm EST. We tried it on Twitter Spaces last week with some amount of success and are going to try it on Clubhouse this coming Wednesday to see if it is a better and more engaging experience.
You do not need to be a member of my Discord to join the conversation or listen in. However, Clubhouse does require an invite. If you need one, let me know.
Here is a link to the book. Below is a link to the Clubhouse discussion.
Round 1 of my summer book club had some weirdnesses on Twitter Spaces so we are experimenting with Clubhouse next week.
— Robby Burns (@robbyburns) July 9, 2021
DM me for invites.
“Summer Book Club: UNgrading” with Music Ed Tech Talk. Wednesday, Jul 14 at 8:30 PM EDT on @clubhouse. Join us! https://t.co/F0ZQDxykx3
Find Robby elsewhere on the web
