Productivity in the Music Classroom

Productivity in the Music Classroom

Introduction

It is sometimes said that a clean desk is the sign of a teacher with too little to do.  If I am anything like the typical music educator then I would argue that I have plenty to do!  Not only do I struggle with keeping my desk clear, I often feel that it is an uphill battle just to reclaim my work space - let alone get everything I need to done.  There is a section of my desk that is dedicated to "things that need done now" - and often it tends to grow like a parasite as I slowly whittle my way through my to do list.  Part of my struggle is practical: I have 25 minutes of planning period during the typical day (unless you count travel time between school buildings as planning time - which some might!) which means I often find myself staying an hour or more after school just catching up with what needs done today.  Please note - this is not a complaint!  I tell people often how I am blessed to have the best students in the school.  After all, most band students are not required to be in band - they elect to.  It is a blissful thought as a music educator that my students are there because they want to be.

Productivity

So how does one go about organizing/optimizing their productivity in the classroom.  In a recent post, I blogged about one tool: OneNote for Teachers.  This program is available for download to any computer, tablet or smartphone and can help to streamline the teaching process.  The very existence of this program demonstrates a need that many teachers have in the classroom - efficient and expedient execution of their many tasks.  Technology has played an increasingly important role in helping to ease tasks so that teachers may focus more on teaching music.  The two most fundamental aspects I face in my classroom are calendar keeping and taskmaster systems.

My approach to calendar keeping has until recently been a non-interactive, digital calendar.  A publisher document or PDF, this calendar has mostly existed digitally so that it is conveniently downloadable but not editable to the viewer.  While to me this is the quicker calendar to produce upfront, it is not ultimately the best method since a fully interactive and sync-able calendar would be more appropriate to embrace the modern technology with which most of us interact.  Because of that, I am currently working on Google Calendar for the first time in creating the fall marching band calendar.  While this will be a powerful tool for my students (and parents and community members) to interact with, I believe that the strongest and most appealing reason to embrace this technology is the ability to update at will and have that instantly known to all who have access to the calendar.  The largest potential pitfall I can see with this technology is not advertising everywhere our students are going to be to the world - this mostly a concern out of an abundance of caution rather than any imminent threats.  While this is a legitimate concern worthy of consideration, I do not anticipate widely broadcasting the availability of our calendar past the people who would need access to it.

The second, and more daily interactive tool with which I work is a task management system.  Again, up until recently this has been a sticky note system for me - which isn't to say that that is an invalid system.  However, with at-home work becoming a real and frequent option - having even something as simple as a digital notepad - such as Apple's "Notes" has become a great benefit to me.  Since I have a school issued iPad synced with my phone, it is easy for me to take notes in "Notes" and have it carried around with me in my pocket.  This instant, permanent sticky note is a great way to digitize what I already do with pen and paper.  My favorite streamlined tool for productivity has proven to be Splashtop.  This app has been required of us by our school for iPad since we became a 1:1 district in 2011.  The app itself is essentially a digital mirroring app capable of providing remote access to a computer.  After initially getting the basic level of the app and using it to become mobile in my classroom, I eventually elected to upgrade to the medium level of the app in order to have "offsite" access to my computer.  In addition, I was able to download Splashtop to my laptop at home.  Here is one such scenario where I was able to quickly and efficiently do something that would normally take hours:

In my study hall (not in the band room), I found myself needing a Finale music file from my laptop at home.  Using my iPad, I was able to get on my home laptop (miles away in my living room) and attach the file to an e-mail.  Since I was unable to leave my study hall, I was then able to remotely access my school computer (down the hallway), open the e-mail attachment and print it to the copy machine right across the hallway.  In the matter of 5 minutes, I was able to access a document on my home laptop's hard drive and have it printed out at school for use during the next period.  This sort of accessibility is remarkable considering just a few years ago it would have been time and resource consuming to try to access that sort of connectivity.

Finding what works

The most critical element of getting organized in your classroom is finding what works for you and what you will stick to.  No matter how many bells and whistles a new program has, if you don't find yourself using it then it won't work for you!  If you are struggling with maximizing your productivity, then you should try a system for a set amount of time (maybe 2 weeks) and then gauge how effective it was for you and whether you should keep it or discard.  This sort of intentional setup will help you with increasing efficiency, reducing stress and streamlining your workflow.

OneNote in the Music Classroom

Microsoft OneNote for Teachers

As a Surface Pro 3 user, one of the powerful tools at my disposal is Microsoft's OneNote.  While I have used it for personal use (particularly for taking quick notes), it is a powerful resource for use in the classroom as well.  It is important to note that OneNote is not just for Microsoft hardware users, but it must be downloaded by most non-Microsoft devices since it is not a native program for them.

This post specifically addresses the use of OneNote for Teachers as a high potential resource for classroom educators.   One of my biggest struggles in the classroom is managing all of the different aspects of teaching in a myriad of locations.  It is often the case that I use multiple platforms for different needs.  Most of my administrative work happens with Office documents/Google Docs/Google Drive while my gradebook is managed in ProgressBook.  My classroom lessons (the ones involving technology) typically use websites or Google Classroom.  Communications happen mostly through e-mail, texting and website posts - so there are a number of different platforms in which I tend to operate on a daily basis.

A Multitasker

Microsoft OneNote for Teachers is one platform that is designed specifically to streamline the many platforms educators typically juggle with.  The ability to integrate highly personalized and interactive lesson plans into the program itself, along with connected grading, e-mail, easy linking and cross-platform connectivity is a powerful tool on in an educator's belt.  On OneNote's website, they even show a video with examples from a biology classroom, music classroom and geography classroom.  The music classroom piqued my interest for obvious reasons, but more so because of the built in ability to add audio or annotations.  This is a critical point for me, since I often like to walk my students from point to point in my lessons allowing them to engage with the material in a meaningful way at each point.  This sort of "guided tour" curricular model would be particularly powerful with differentiation and pacing in the classroom.

Here is a screenshot from the tutorial demonstrating the music lesson and annotation abilities with embedded audio interaction:

And here is the tutorial video for creating an interactive lesson such as this.

Another advantage of this sort of program is the ability to provide enrichment to each student that is more customized to them.  The interactive lesson concept allows students who might struggle to pace themselves more slowly while the students who have mastered the concept can move ahead.  The teacher could provide additional materials at the "end goal" of the lesson that could help to solidify/reinforce what was taught during the lesson.

This above example is just one way that OneNote for Teachers could be used in the classroom, but I encourage you to go to this website for further reading!

Hearing or Listening to Music

If I were to sit my Music History class down next Monday and say "Now we are going to listen to Haydn's Trumpet Concerto.", and then proceed to play a recording of it - they wouldn't actually listen to it.  Sure, they would sit still, not make noise, maybe even close their eyes as if that heightens their awareness (or helps them snooze...).  What went wrong?  Is Haydn's Trumpet Concerto a "boring" piece to listen to?  Certainly not -- but it may not be all that stimulating to hear.  What's the difference you say? 

Hearing...

Hearing is the raw data your brain receives.  The man who neglects to listen to his wife often has perfectly functioning ears.  With our students, the main issue is not typically whether or not they can hear - which can be diagnosed and helped if needed.  Rather, it is the connection between their ears and brain which creates the listening.

Listening...

Listening is the act of consciously processing that which we perceive.  Notice that listening is not limited to our ears - it's limited to our perception.  In this case, we often listen with not only our ears, but often with our eyes and brain (understanding social contexts) as well.  Since much of what we say is contextually specific we often automatically sync our perceptions.  Additionally, it is often the case that we say more with our body language and actions than we do with our words - which can make listening all the more visual or mentally engaging.

Listening to music

Our students hear music all the time.  It has become a common trend in my school to simply leave headphones draped around one's neck at all times so that they are easily accessible at a moment's notice.  But the reality is with my example at the beginning that my students would not listen to Haydn's Trumpet Concerto because I did not help them with how to listen.  For one, what is the body language of the piece?  In the case of that particular piece, it is significant that Haydn wrote very few concertos (and only one for trumpet).  It was written for a good friend of his and for his brand new invention - the keyed trumpet.  The cadenza wasn't even written out - Haydn just assumed his friend would fill it in to show off the prowess of his new, impressive chromatic range.  It is easy to believe that the audience was impressed by the novelty of the instrument, even if it was only a partial success.

The above story creates a lot of "body language" for Haydn's trumpet concerto.  Setting this stage with my students - of an audience giddy with anticipation of this new phenom - is an important footnote in the context of the piece.  Knowing that Haydn was a fairly non-showy, humble man also contributes to the significance of the piece.  This was indeed a special occasion piece - and all the more reason to pay special attention to it's compositional worth.

Among the various ways I might encourage my students to "listen" is also with visual aids.  A listening map (either created by them or prepared by me ahead of time) would offer them keen and critical insights to what Haydn was doing in the piece.  For instance, the introduction is obscenely arpeggiated - even the orchestra is mostly relegated to what is typical of the brass limitations at the time.  It is not until the trumpet boldly enters that we are treated to the first hints at what this novel instrument can do.  A visual map of the piece might show a sort of staircase movement jumping between all the arpeggiated movement.  All of a sudden, the trumpet part enters and the jumpiness changes to scalar motion as we envision the delight of the audience.  The visual cue that the musical style has changed is a critical element to listening - in this case with the eyes.

Other options, like following the score (public domain and freely accessible) or letting the students draw pictures that represent each section of the music would be great ways to engage multiple of their senses in order to help them listen on multiple planes, and not simply hear.

Copyright Law, Fair Use, Public Domain, Creative Commons (and you!)

Warning: The opinions expressed herein are not necessarily those of my employer, not necessarily mine, and probably aren't necessary at all... just kidding.  But seriously - do not consider this legal advice, more like guidelines.

Introduction

This post is aimed at simplifying/summarizing the (sometimes subtle) differences between legal use, copying, performance, alternation and distribution for the everyday classroom educator.  It is important to point out that many music publishers are very specific about the parameters with which you may use their product - so always consult the "packaging" for the final say.  This post is specifically aimed at sheet music.  That being said, there are four main categories into which most published sheet music falls: copyrighted, fair use, public domain and creative commons.  How they work and the legal differences are delineated below.

Before diving in, you may consider watching this informative (and cheeky) video on copyright laws in general (Caution, mild language): Copyright Law Explained

Copyright

If something is copyrighted then it is protected as an original authored work by an individual or entity.  The law establishes that unwanted sharing or altering something that you have created is restricted.  Copyright is inherent - it does not need to be legalized, although without proper legalization through the U.S. Patent Office it could be much more difficult to definitely prove legal ownership.  All copyrights will eventually expire given enough time.  The length of time varies based on a variety of rules, but fundamentally most copyrights will extend at minimum to the length of the originator's lifespan.  When a copyright expires, it effectively defaults to public domain.  If there is a question about the validity of a copyright, this Library of Congress website should be able to clarify any issues.

Fair Use

In general, music educators may use copyrighted materials under the fair use clause.  However, there are four specific criteria that the use should qualify for in order for fair use to be implemented.  The criteria are (as taken directly from the clause):

1.) The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes

2.) The nature of the copyrighted work

3.) The amount and substantiality of the portion used in relation to the copyrighted work as a whole

4.) The effect of the use upon the potential market for, or value of, the copyrighted work

Essentially, if the use is wholesome, specific and thoughtfully targeted, for the sake of education and not going to significantly impact the commercial market for the work then it is most likely acceptable use under the fair use clause.  It is important to point out the subjective nature of this clause, as it could be nefariously used in unscrupulous ways -- however, the majority of music educators should be expected to be seeking use for targeted, meaningful educational growth, and therefore should not use in fear of retribution.

Public Domain

Public domain is essentially where copyrights go to die.  (The copyrights die, not  the materials that are copyrighted).  It is a place where works can be used freely and without permission.  Most works that end up in the public domain are defaulted there by time, but some do end up there as a result of non-renewal of copyright, have been deliberately placed there by the original owner, or are simply not copyrightable.  Since something has to be "created/authored" in order to be copyrighted, it is important to distinguish that things like children, dogs, etc. logically do not qualify as "creations" in the same sense that a new piece of music does.  While this may seem a silly example, a cursory search of "ridiculous copyright claims" yields a bountiful collection of bizarre real world suits filed over such claims.  A wonderful collection of public domain sheet music can be found here.

Creative Commons

A relatively recent but simple concept has been Creative Commons.  It is an organization that seeks to simplify the usage requirements of materials that the creators wish to share.  There are six tiers of licenses available, ranging from simple Attribution (you can use/edit/share in any way you please so long as credit is given to the original creator) to Attribution-NonCommercial-NoDerivs (you may download the work, unaltered and non-commercially, and share as long as credit is given to the originator).  The principle behind the group is to facilitate best practice among numerous professions/hobbies in order to establish a better community for sharing creations.

Conclusion

It is critical as music educators that we both follow copyright laws and set good precedent for our students regarding copyrights.  That said, it is also critical that music educators be able to access the wide plethora of resources without overarching fear of repercussions as a result of legal missteps.  Hopefully this post clarifies a bit between the difference legal tiers available for accessing materials.  Please feel free to comment if you enjoyed this or if you find erroneous or misleading content!

Chromatik and SmartMusic

21st Century Notation

What are they?

Chromatik (https://www.chromatik.com/) is a web platform that allows musicians to practice, print and perform music for free.  The majority of music on the site is popular songs and artist recordings.  After selecting an instrument, the user is able to browse a plethora of sheet music options with recordings accessible on the page.

SmartMusic (http://www.smartmusic.com/) is a software program with a huge assortment of musical options geared towards ensemble and individual musicians.  It is a tool for educators, students, private teachers and music enthusiasts - both professional and amateur to better hone their performance skills.

What are they best used for?

Chromatik is a great way to access sheet music in a large library of popular music.  If you want a violin solo part to "Let It Go"?  Bam.  It's there.  Do you need a Hillsong flute solo for your special at church next Sunday?  Done.  The assortment is variable.   The likelihood of finding a piece in a popular genre is very likely, but the likelihood of your top 10 list all being listed is somewhat less.  Regardless, Chromatik is a powerful tool to help instrumentalists find accurate, free melody transcriptions of popular tunes that can be played in a reasonable range right along with the recording.  The program also offers annotation, reference tracks and recording features which are a GREAT way to motivate musicians to learn since they can "play by ear" to fill in the gaps on notated parts that may not yet be able to read.  The audience this program is geared toward definitely contains the "garage band teen" who may lack reading skills but desire to be able to iterate their favorite jams!

SmartMusic is fundamentally an electronic proxy teacher.  The sheer amount of tools put at the musician's disposal (access your part, change the tempo, get instant feedback, submit assignments, take multiple takes, leaves notes, find accompaniments, etc.) are astounding.  With a subscription to SmartMusic it is possible to find, read, record and get feedback to a tremendous (and growing) library of pieces.  MakeMusic has made a strong effort to accommodate educators, including accepting recommendations for pieces and attempting to keep entire solo and ensemble lists available in the program.  In addition, SmartMusic syncs and cooperates with Finale and other MakeMusic programs, making it possible to easily import/export files to become lessons or sheet music.

What are the limitations?

Chromatik's biggest limitation is the library.  While "Let It Go" and "Do You Want to Build a Snowman?" are available, the rest of the Frozen soundtrack is not.  If you are seeking out particular pieces of music, especially from less mainstream sources, the likelihood of finding the exact piece you want can be slim at times.  The good part of this is that Chromatik is constantly updating/uploading music, so everyday the chances of finding that elusive piece of music increases.

SmartMusic's biggest limitation is the cost.  Fundamentally, SmartMusic is not very useful unless students/teachers/schools are willing to foot a continuous bill for a subscription.  There are different financial options available, but for the best features/uses of the program (particularly for student use at home) there is a financial investment to be made.  Also, some students may find SmartMusic very motivating, but there may be some for which the prospect of setting up their instrument with a microphone in front of their family computer may not be ideal (or even possible).

Educational Uses

The educational uses for both programs are varied and helpful.  In my hands, Chromatik will be used in my classroom as a resource for students seeking out opportunities to find, rehearse and play popular music.  One of my favorite aspects of Chromatik is that the nuances of the original artist are scripted into the sheet music, meaning that small arpeggiations and mordents become a part of the script.  This allows for students to recreate a more realistic/original performance that emulates the vocalist.  Since this is sometimes an issue in instrumental takes on vocal music, I personally see this as a big plus.

The educational uses for SmartMusic are wonderful.  I have already used SmartMusic in my classroom, and use it at least 4 times in a typical week (with my 5th grade band students).  It is very easy to navigate through the app, and the students get a chance to be challenged by the listening capabilities of the app.  They learn that slowing down is considered incorrect, even if they played the notes and rhythms correctly -- this is a big area for my 5th grade band students as they really start to hone in on tempo accuracy.  It is also fun for them to get to hear their parts with an interesting accompaniment part.  Equally, the students can be assigned individualized playing lessons which they can take turns with the iPad setup as a "practice room".  These features, plus an ever growing available library, creates a powerful setup for educational success!

Navigating Media Types for the Music Classroom

Introduction

Below is a brief rundown of the types of media a music educator might want to use in the classroom.  It is a basic guide that should help with some of the benefits/pitfalls of each item.  I hope it is a helpful guide for any who might be seeking ways to integrate these technologies in their classrooms.  The link below (provided by the Music Learning Today (Bauer, 2014) website contains a large database of current, free, copyright friendly or public domain media resources:

http://wibauer.fatcow.com/media-resources/media-resources.html

Graphics (pictures and video)

If you are seeking to use digital pictures or video in your classroom, the link above is incredibly helpful.  Although it may be easy to find images online, not every image is free to copy and use at will.  Images and videos of music, history, instruments, performances, culture and concepts pervade the web.

Pictures: 

         Resolution is key to understanding digital pictures.  The PPI (pixels per inch) tells you both the screen resolution and an approximate optimal size for the image. The smaller the resolution number, the smaller the photo should remain in order to preserve quality.  Larger pixel numbers are better quality but also require more storage space.  DPI (dots per inch) is related to printing the image.  Please note that DPI is variable even on the same printer depending on print settings and the driver involved but generally speaking a higher DPI (up to a "point" :) will produce better quality photos.  PPI and DPI are not interchangeable.  Generally you need a higher DPI to keep PPI quality resolution.  SPI (samples per inch) is a measure of scan quality in an image scanner.  Again, generally the higher the number, the better the quality but the more memory the file requires.

          

          File formats: JPEG (image), JPG (image), GIF (short video/sequence of images), and PNG (an updated version of the GIF).

Video:

         Videos are great as both linear (you watch/respond to the video) or even interactive (assessments or paced with the student).  There are a plethora of videos available and a myriad of way to embed them if you find yourself blocked out of access at school.  Videos can be captured or made with multiple digital devices (not the least of which is smartphones) and used extensively to progress the music education curriculum.  Some common formats include MPG-4/MP4V (compressed video), MOV (Apple platform), M4V (iTunes videos) and WMV (Windows Media Video).  Keep in mind with video files that they are LARGE.  The memory requirements can easily eat up the majority of the memory on a device, so careful use (and whether it is compressed or not) wildly effect the amount of data involved.  Generally speaking, embedded videos are more desirable (but require more pre-planning) since they do not actively require downloading or device memory.

Software

      Software can be a great number of things but is fundamentally a program (not device) for a specific purpose.  Hardware (devices) contain software on them in order to serve their function.  Almost any software program can be effectively used in the classroom depending on the need, but it is often more beneficial to use what is available/free then to covet that "new" program just for one particular purpose.  Obviously every software program has its niche but being well versed in a few programs effectively is often better than owning the perfect software program that never/rarely gets used.

Instructional software is typically designed for a specific teaching purpose.  Below are a few kinds that are excellent for the classroom:

Tutorial - often the introduction to a specific desired ability.  Tutorials are great in that they are often paced out to the learner's needs.  They are wonderful task masters but also follow the "rail-shooter" mentality and don't let the learner stray into the program for exploration.  The best tutorials walk you through the basics and then allow the student to explore freely after mapping out guidelines.  Most of the other categories (practice, creativity and games) contain help tabs, tutorials or both in order to help the user.

Practice - these are great for process building or scaffolding.  Practice programs build on skills/accomplishments and increase the efficiency/efficacy of achievement.  Some practice programs are paced with the learner and some are paced by the teacher.  They can be simple taskmasters (metronomes) or give complex formative and summative feedback (SmartMusic).

Creativity - these programs are typically for creation.  They can be as complex as full mix master studios (Logic Pro), compositional centers (Finale and Sibelius) or as simple as open-sourced freeware for playing (Noteflight).  Analogous to a box of Legos, these programs are often only limited by the creativity and know-how of the user.  They can be used for guided serious study or simple "doodling".

Games - a favorite of many students, games have become an integrated part of many music classrooms.  Competitive or non-competitive, multiplayer or solo, online or downloaded, adventure or static - games are versatile.  A simple cursory search for music games yields enough to engage many students in many areas.  There are even websites for building your own games! (ex: https://www.superteachertools.net/jeopardyx/).

Internet Resources

The last category I wanted to cover was the world wide web.  The internet can be a scary place or a haven of enlightenment depending on which direction you go and how often you end up in that "weird part of YouTube".  The fundamental types of websites available for the classroom are:

Websites - these are the ubiquitous masses that populate the internet.  There are websites on more and more things everyday.  It is often not so much an issue of availability of information or resources as much as filtering out what is not needed and zeroing in on the desired websites.  Searching with keywords or with trusted tools (such as Google) will often quickly yield the desired results.

Blogs - You know what these are since you are looking at one!  Fundamentally the difference between a Blog and a regular website is the interactive possibility (so feel free to comment!)

Wikis - Easy to digest and full of information.  Wikis are often only limited by interest.  (For instance, Wookieepedia for Star Wars is quite extensive) while some wikis are quite small/limited.  These are great places to seek out information or better yet, as a launching pad to find where resources are!  Wikis often require source citations, so it is beneficial to search their reference sections for gold nuggets regarding whatever you are in need of.

Podcasts - either audio or video, Podcasts are a great media source for professional down to novice.  Often, podcasts are made professionally but are available at will for consumption, making them a powerful informational tool.

Social Bookmarking - social bookmarking essentially streamlines the digital experience for the user.  It is a way to easily access things of interest to the user, both now and to save them for later.  More often than not, popular websites will provide numerous ways to link to Facebook, Twitter, and more.  

Learning Management Systems - LMS are a powerful tool that many school systems use to streamline academic content and peripherals for classrooms.  Programs like Blackboard or ProgressBook are designed to be a central station for academic record keeping and services.

Conclusion

Hopefully you found this lineup helpful in discerning a little better how to navigate the technological universe for classroom usage.  Please feel free to ask questions or comment on any of the content.  Also, if you find that there are any errors, please let me know and I will correct them.

Digital Audio Workstations, MIDI and you!

Digital Audio Workstations, MIDI and you!

Definitions:

Digital Audio Workstations (DAW) - a digital interfacing tool that produces and reproduces actual sounds (you can also record or import real sounds into a DAW from live performance or other methods).  Digital audio files contain the information to reproduce actual sounds.

Musical Instrument Digital Interface (MIDI) - a digital tool that creates a digital representation of sound.  It might be best to describe MIDI as the "virtual" instrument.  MIDI data includes instructions for reproducing a sound.

Confused?  Here's an example.

Consider the trumpet.  A real trumpet can be picked up, tuned, manipulated.  When a trumpet player produces a sound, it is an actual sound.  If you were to hook up a microphone and play said trumpet, the actual sounds would be converted (via an analog-to-digital converter, or ADC) to digital data which would be stored as a file.  That file could be saved as a file, e-mailed, opened and then listened to.  The listener could open the file and hear the original sound produced by that trumpet player - including the acoustic nuances and complexity of their performance.

Now, consider a MIDI keyboard.  If you were to "play" a MIDI keyboard into a notation software program, then you are giving it instructions to make sound.  There are no actual sounds involved.  The end result of MIDI production is always fabricated sound.

So what does this have to do with a DAW?

A good DAW is basically a program capable of integrating any combination of real sounds (actual recordings), MIDI input, loops, and any other recorded or digitally produced sound or file.  Essentially, a DAW is an intermodal terminal for the exchange and mixing of multiple input styles.  While MIDI is a great resource for inputting/producing sheet music for instance, a DAW is capable of producing recordings for an album.  Using a DAW such as Apple's Logic Pro 9, you could produce an entire CD.

Other advantages to a DAW

The abilities to mix, edit free of time constraints within the music and input in a myriad of ways are all great advantages to a DAW.  With a microphone, computer and external mixer board, it is possible to generate, edit and preserve original and altered versions of music and professionally polish them in the process.

So why even use a MIDI input device?

As I discussed on my last post, MIDI input is a WONDERFULLY speedy way to input music notation into a software program.  As a band director who is constantly arranging/transcribing parts, the ability to play through a MIDI keyboard on any instrument and have a program like Finale transpose at will is invaluable.

The bottom line between using DAWs and MIDI

The fundamental question you need to ask yourself is... What do I need to use this for?  If your primary goal is to rock a sweet new tune for your garage band then perhaps the DAW is going to be your best bet.  But if you need a quick transposition of that tenor sax part for English Horn by next period then break out that MIDI keyboard!