This framework is not an aspirational dream—it has already been done. The next step is ensuring its continuation and scalability.

View this external link for a course outline. This course outline has been delivered to hundreds of students in more than a dozen iterations.

The implementation of a multimodal music education program requires a fundamental rethinking of how music is taught in institutional settings. Traditional music education is often constrained by rigid structures, standardized curricula, and colonial legacies that prioritize certain musical forms and methodologies over others. However, a multimodal framework recognizes that music learning occurs in diverse ways and across multiple settings, both physical and digital. This section outlines the core components of a multimodal music education program, focusing on physical rehearsal spaces, online collaboration platforms, synchronous virtual engagement, and structured asynchronous coursework. Each of these modes offers unique opportunities for students to engage with music on their own terms, fostering creativity, accessibility, and inclusivity.

Further to this, here is a paper that outlines this website.

The Physical Rehearsal Space: A Foundational Component

A dedicated physical space is essential for multimodal music education. This space should be equipped with standard pop music education instruments and divided into multiple functional areas, including a bedroom-sized instrument storage space, a practice room, and a larger rehearsal space akin to a living room. While acoustic considerations are important, what is most critical is accessibility—students must have reliable and regular access to these spaces to develop their skills in a collaborative environment.

The rehearsal space should include essential instruments and equipment such as bass and guitar amplifiers, electric keyboards, electric and acoustic guitars, effects pedals, and electronic drum sets. The choice of electronic drum sets is particularly strategic, as they minimize acoustic interference and allow for high-energy practice without excessive space requirements. For live sound reinforcement, two Bose L1 Towers offer an intuitive and user-friendly PA system suitable for both rehearsal and performance contexts. Additionally, the space must be stocked with appropriate cabling, SM58 dynamic microphones, sound baffling, and carpeting to optimize the rehearsal environment.

This physical rehearsal space is aligned with Christopher Small’s concept of musicking, which emphasizes that the act of making music is as valuable as the final product. While solo music-making is meaningful, its impact is heightened when it takes place in a communal setting. Music, much like team sports, thrives in an interactive and dynamic social context. A well-equipped rehearsal space enables these interactions, providing students with a structured yet flexible environment for collaborative learning and creativity.

It is worth noting that many school divisions already have suitable facilities that could be leveraged for this purpose. Existing infrastructure in public schools, community centers, and live music venues—including spaces such as the Pancake live music space, the Off-Broadway Collective, and The Basement in Saskatoon—could be repurposed to support a multimodal music program. This approach circumvents the need for costly new construction and instead emphasizes strategic partnerships and resource allocation.

A Shared Online Space: Fostering Asynchronous Collaboration

In addition to a physical space, a shared online platform is necessary to facilitate asynchronous communication, collaboration, and feedback. This could take the form of a Google Classroom, a division-supported learning management system, or a community-driven Discord server. The core function of this digital space is to allow students to share their work, receive peer and instructor feedback, and document their musical progress outside of scheduled class time.

Music is not confined to a rigid schedule—creative inspiration can strike at any time. Some students may create music at 4 a.m. and wish to share it immediately, while others may work asynchronously due to personal commitments or scheduling conflicts. An online space ensures that musical achievements can be shared, documented, and critiqued in real time, fostering an ongoing and evolving dialogue between students and instructors.

A critical component of this online space is moderation. While peer feedback is valuable, digital forums must be monitored by an instructor, student support worker, or educational assistant to maintain a safe and constructive environment. Additionally, this space provides a valuable outlet for students who experience social anxiety or other barriers to in-person participation, allowing them to engage with music education in a way that aligns with their personal needs and comfort levels.

Synchronous Virtual Engagement: The Role of Zoom and Digital Meetings

A third component of the multimodal music education framework is the use of synchronous virtual spaces, such as Zoom meetings, for real-time collaboration. The term virtual should not imply a lesser form of engagement—virtual spaces are real spaces occupied by real people. These digital environments allow for meaningful interaction between students and educators, enabling real-time discussions, critiques, and collaborative projects across geographical boundaries.

The benefits of virtual meetings in music education became particularly evident during the COVID-19 pandemic. When traditional in-person instruction was no longer viable, music educators quickly adapted to digital formats. In my own experience, students were assigned individual time slots to perform live into a Zoom meeting with high-fidelity audio settings enabled. Once recorded, these performances were extracted and layered into digital audio workstations like GarageBand to create full-band compositions. This method not only ensured continuity in music education but also resulted in high-quality student work that continues to be broadcast on radio and streaming platforms today.

Despite the return to in-person instruction, the potential of virtual spaces has been largely ignored in mainstream music education. Digital meetings allow students to participate in music education regardless of their location, making it possible for students from Saskatoon, Prince Albert, North Battleford, and Regina to collaborate in real time. Additionally, these sessions can be recorded and archived, providing asynchronous learning opportunities for students who cannot attend live discussions.

Asynchronous Coursework: Structured Learning for Independent Study

The final component of this multimodal framework is a structured asynchronous learning space. This mode caters to students who prefer or require a more self-directed approach, with clearly defined learning objectives, assignments, and submission deadlines. While this model is the most rigid of the four, it provides a viable option for students seeking a conservatory-style education or those who simply need to complete a music credit through independent study.

This structured approach is particularly effective for traditional music instruction methods, such as music theory, composition, and instrumental proficiency. Students can engage with course materials, complete assessments, and receive instructor feedback on a flexible timeline. While this mode lacks the dynamic interactivity of the other three, it remains a necessary component of a multimodal music program to ensure accessibility for all learners.

Critical Analysis: Feasibility, Sustainability, and Institutional Barriers

From an administrative perspective, the breadth of this multimodal approach may seem overwhelming. The idea of offering four distinct learning modes—physical, online, synchronous, and asynchronous—may be dismissed as an unrealistic or impractical vision. However, these methods have already been successfully implemented. This framework is not hypothetical; it is based on over a decade of direct experience in music education.

Institutional resistance remains the primary obstacle. School systems are entrenched in traditional scheduling models, funding allocations, and staffing structures that often do not accommodate innovative approaches. Yet, during the pandemic, when these constraints were forcibly lifted, student engagement, creativity, and productivity surged. This success was not an anomaly but a demonstration of what is possible when rigid structures are reexamined.

Conclusion: A Call for Scalable Implementation

A multimodal music education program has the potential to reach diverse student populations, including neurodivergent learners, English language learners, and students from underserved communities. While a fully staffed program with dedicated teachers for each mode would be ideal, initial implementation could begin with a single educator with the appropriate skill set and institutional support.

This framework is not an aspirational dream—it has already been done. The next step is ensuring its continuation and scalability. By supporting early-career music educators, leveraging existing infrastructure, and challenging outdated institutional norms, we can create a sustainable, inclusive, and innovative music education model that prioritizes student well-being over rigid tradition.