THE EUPHONIOUS NORWAY SPRUCE

Designer:​ Marissa Adams

Technologies Used:
● Make-Makey: used to make the experience interactive and create a better learning
experience for the user.
● Scratch: used to code the sounds and music of the Makey-Makey so that when the
Makey-Makey is triggered, it will play the coded sound effects that correspond to the
area triggered.
● Soundtrap: used to import and create sound effects into scratch, which were then
coded into the Makey-Makey to create ambient sounds that enhance the overall
learning experience and aesthetic of the experience.

Learning Goal:
● MU:Cr1.1.T.Ia Generate a new work and story by analyzing and incorporating different
melodic and rhythmic ideas into the previously created work, Pachelbel’s Canon in D
using digital tools.

Assessment:
● Participant learning and experience will be assessed via google form where the
participant will take a survey following their experience. The survey will ask the
participant to rate their learning experience on different and specific levels (This
experience has enhanced your understanding and or ability to create music by adding
ambient sounds to a previous work; By physically interacting with this experience you
were able to retain what you learned more efficiently than learning it in a traditional
classroom; You feel comfortable improvising and generating musical ideas using
ambient effects, etc.) out of five.

Project Overview and Rationale:

● The participants using the controller will be able to engage with Pachelbel’s Canon in
D by adding various ambient sounds into the piece. I will challenge the participant to
trigger specific ambient sounds at different moments throughout the piece to create an
interesting, improvised, rhythmic piece that flows together nicely, creating one big idea.
As the facilitator, I will give an example of how they might approach this experience,
and then explain the idea of creating a new piece with ambient noises building off of
Pachelbel’s Canon. I will then encourage participants to first trigger each sound with
me to explore their possible options for their improvised piece, this way they might
develop new ideas on creating their new work. After the participant has had enough
time to explore their different options and decide which sound would be best placed
where, I’ll then ask them what “holiday story” they are envisioning, and encourage
them to play around a little bit with how they might like to incorporate each noise
rhythmically, how much they want to incorporate each noise specifically, and how