1. Why take the trouble to investigate the Adventus approach when we already have a high quality music program and what I'm doing in the classroom is working?

2. There are a number of behaviour issues in our classes, and students with special learning needs are integrated into classes at every grade level. The Adventus approach may make my music class more complex, how can this work with students on the spectrum or with ADD, ADHD?

3. Are the activities included in the interactive software closely aligned with the elementary music curriculum, and are they effective, comprehensive, and free of cultural or gender bias?

4. How long does it take for a music specialist to become competent with the interactive software?

5. I don't know how we could free up any time in my classes. What would I have to cut in order to include the interactive software in my class?

6. The MusIQ software uses note names to identify notes on the piano keyboard. Will this confuse my students who are at the same time learning to identify pitches using solfège (do-re-mi)?

7. In my music class students learn as a group, where this software would have them working with a computer, which is a process between a computer and an individual. Will they be losing an opportunity for social development?

8. I know my parents. They have a tough time getting prepared and motivated to help teach their children to read at home. How am I going to prepare or motivate them to connect a keyboard to a computer, install the software, etc?

9. Is it important for students to experience the sound made from a quality acoustic instrument, as opposed to this electronic MIDI piano, where the sound is made by a computer?

10. Is it harmful for children under 12 to be using computers?

11. What will the overall ‘quality’ of the music program be if we’re relying heavily on the software?

12. What about the time I’ve invested in Kodaly, Orff, Dalcroze and Suzuki Certification? How can support for this new approach be justified when I’ll effectively be devaluing what I’ve done?

13. What about my own personal development? Isn’t my autonomy as a teacher threatened by introducing this segment, which will set new expectations, what about pressure to repeat?

14. What about competition with other instrumental activities, such as the recorder we already use in class, band which starts in grade 4, or a strings program that takes a few students from each of the district schools?

15. Some students are already involved in other instrument lessons. My degree is not in piano, I am a specialist in Oboe and choral and early childhood music education. Why teach piano?

16. What about cost? My school has not invested in much for our music program, is it likely they will agree to make computers and software and MIDI keyboards available to my program?

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