Online learning in higher music education: benefits, challenges and drawbacks of one-to-one videoconference instrumental lessons
Loading...
Official URL
Full text at PDC
Publication date
2020
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Intellect
Citations
Exportar
Citation
Martínez Hernández, A. (2021). Online learning in higher music education: Benefits, challenges and drawbacks of one-to-one videoconference instrumental lessons. Journal of Music, Technology and Education, 13(2-3), 181-197. https://doi.org/10.1386/JMTE_00022_1
Abstract
Online music courses are becoming more common in higher education thanks to the always increasing technological advances. Due to the COVID-19 pandemic many universities around the world have been forced to turn to online learning. There are currently several options to deliver online musical tuition, but most of them offer limited results. Online learning provides many advantages related to time and money saving, as well as ecological-related matters, access from remote areas and interaction between students and teachers around the world. However, most often communication will take place using platforms tailored for speech, which will have a significant impact on the lesson quality. Although face-to-face lessons cannot be completely replaced to guarantee quality tuition, online lessons can be a helpful complement in certain situations. This article aims to identify the most common limitations of the platforms available at the moment, suggesting different approaches to lessen the weaknesses of online instrumental one-to-one teaching.
Description
Referencias bibliográficas:
• Alberich-Artal, E. and Sangra, A. (2012), ‘Virtual virtuosos: A case study in learning music in virtual learning environments in Spain’, European Journal of Open, Distance and E-Learning, 2012:1, pp. 9–21.
• ‘articulation and phrasing’ (2001), Oxford Music Online, Oxford: Oxford University Press, https://www-oxfordmusiconline-com.universidadviu. idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040952. Accessed 14 September 2020.
• Bennett, K. (2010), ‘A case study of perceptions of students, teachers and admi-nistrators on distance-learning and music education in Newfoundland and Labrador: A constructivist perspective’, Canadian Music Educator, 52:2, pp. 48–49.
• Berg, R. E. (2019), ‘Acoustics’, Encyclopaedia Britannica, 20 August, https://www. britannica.com/science/acoustics. Accessed 20 August 2020.
• Bhtara, A., Tirovolas, A. K., Duan, L. M., Levy, B. and Levitin, D. J. (2011), ‘Perception of emotional expression in musical performance’, Journal of Experimental Psychology: Human Perception and Performance, 3:37, pp. 921–34.
• Blackburn, A. and Hewitt, D. (2020), ‘Fostering creativity and collabora-tion in a fully online tertiary music program’, International Journal on Innovations in Online Education, 4:2, 18 September, https://onlineinnova-tionsjournal.com/download/63209b3a0ef5fedf.pdf, https://doi.org/10.1615/IntJInnovOnlineEdu.2020035099. Accessed 12 April 2021.
• Bonetti, S. (2020), ‘Low latency AV streaming system’, https://lola.conts.it/. Accessed 24 September 2020.
• Bonneville-Roussy, A., Hruska, E. and Trower, H. (2020), ‘Teaching music to support students: How autonomy-supportive music teachers increase students’ well-being’, Journal of Research in Music Education, 68:1, pp. 97–119.
• Boucher, M., Creech, A., and Dubé, F. (2021), ‘Video feedback and the self-evaluation of college-level guitarists during individual practice’, Psychology of Music, 49:2, pp. 159–76, https://doi.org/10.1177/0305735619842374. Accessed 12 April 2021.
• Bowman, J. (2014), Online Learning in Music: Foundations, Frameworks, and Practices, Oxford: Oxford University Press.
• Brüel&Kjær Sound and Vibration Measurement A/S (2001), Environmental Noise, Naerum: Brüel&Kjær Sound and Vibration Measurement A/S.
• Cáceres, J. and Chafe, C. (2010), ‘JackTrip: Under the hood of an engine for network audio’, Journal of New Music Research, 39:3, pp. 183–87, https://doi. org/10.1080/09298215.2010.481361. Accessed 11 April 2021.
• Carey, G. and Grant, C. (2014), ‘Teachers of instruments, or teachers as instru-ments? From transfer to transformative approaches to one-to-one peda-gogy’, in G. Carruthers (ed.), Proceedings of the 20th International Seminar of the ISME Commission on the Education of the Professional Musician, Belo Horizonte, Brazil, 15–18 July, pp. 42–53.
• Carey, G. and Grant, G. (2015), ‘Teacher and student perspectives on one-to-one pedagogy: Practices and possibilities’, British Journal of Music Education, 32:1, pp. 5–22.
• Carey, G., Grant, C., McWilliam, E. and Taylor, P. (2013), ‘One-to-one peda-gogy: Developing a protocol for illuminating the nature of teaching in the conservatoire’, International Journal of Music Education 31:2, pp. 148–59, https://doi.org/10.1177/0255761413483077. Accessed 12 April 2021.
• Christensen, M. (2019), Introduction to Audio Processing, New York: Springer.
• Cisco Webex (2021), ‘Enable music mode in Webex meetings and events’, Cisco Webex Help Center, 12 May, https://help.webex.com/en-us/k0yf2g/Enable-Music-Mode-in-Webex-Meetings-and-Events. Accessed 12 April 2021.
• Comeau, G., Lu, Y. and Swirp, M. (2019), ‘On-site and distance piano teaching: An analysis of verbal and physical behaviours in a teacher, student and parent’, Journal of Music, Technology & Education, 12:1, pp. 49–77, https://doi.org/10.1386/jmte.12.1.49_1. Accessed 10 April 2021.
• Crawford, R. (2017), ‘Rethinking teaching and learning pedagogy for education in the twenty-first century: Blended learning in music education’, Music Education Research, 19:2, pp. 195–213.
• Davies, G. (2015), ‘The effectiveness of LOLA (LOw LAtency) audiovi-sual streaming technology for distributed music practice’, MA thesis, Edinburgh: Edinburgh Napier University.
• Dammers, R. (2009), ‘Utilizing internet-based videoconferencing for instrumental music lessons’, Applications of Research in Music Education, 28:1, pp. 17–24.
• Del Sol, M. (2020), ‘Techniques of expressivity in music performance’, Cuadernos de Investigación Musical, 10, pp. 120–29.
• Drioli, C., Allocchio, C. and Buso, N. (2013), ‘Networked performances and natural interaction via LOLA: Low latency high quality A/V streaming system’, in P. Nesi and R. Santucci (eds), Information Technologies for Performing Arts, Media Access, and Entertainment, vol. 7990, Berlin and Heidelberg, Springer, pp. 240–50.
• Duffy, S. and Healey, P. (2017), ‘A new medium for remote music tuition’, Journal of Music, Technology & Education, 10:1, pp. 5–29, https://doi. org/10.1386/jmte.10.1.5_1. Accessed 10 April 2021.
• Dye, K. (2008), Applied Music Lessons in an Online Environment using Desktop Videoconferencing: Lessons with Almost Anyone, Anywhere, Anytime: It’s Possible, Riga: VDM Verlag.
• ‘envelope’ (2014), Encyclopaedia Britannica, https://www.britannica.com/science/envelope-sound. Accessed 15 September 2020.
• Fahy, F. and Walker, J. (eds) (1998), Fundamentals of Noise and Vibration, London: Spon Press.
• Filanová, J., Ondrášová, I. and Töröková, A. (2020), ‘Quality evaluation of audio and video signals in videoconferences’, Acta Polytechnica Hungarica, 17:7, pp. 89–108.
• Gaunt, H. (2011), ‘Understanding the one-to-one relationship in instrumental/ vocal tuition in higher education: Comparing student and teacher percep-tions’, British Journal of Music Education, 28:2, pp. 159–79.
• Holt, B. (2018), ‘21st-century cello pedagogy: Examining the efficacy of online cello lessons’, Ph.D. thesis, Toronto: University of Toronto.
• Howard, D. M. and Angus, J. (2017), Acoustics and Psychoacoustics, New York: Taylor & Francis.
• JackTrip (2021), ‘Home page’, https://www.jacktrip.org/. Accessed 4 April 2021.
• Jitsi.org (2021), ‘Using Jitsi for a networked music performance: Stereo, server based’, 3 March, https://community.jitsi.org/t/using-jitsi-for-a-networked-music-performance-stereo-server-based/22253. Accessed 11 April 2021.
• Johnson, C. (2017), ‘Teaching music online: Changing pedagogical approach when moving to the online environment’, London Review of Education, 15:3, pp. 439–56, https://doi.org/10.18546/LRE.15.3.08. Accessed 12 April 2021.
• Johnson, C. (2020), ‘A conceptual model for teaching music online’, International Journal on Innovations in Online Education, 4:2, pp. 1–23, https://doi.org/10.1615/IntJlInnovOnlineEdu.2020035128. Accessed 9 April 2021.
• Johnson, C. and Lamothe, V. C. (2018), Pedagogy Development for Teaching Online Music, Pennsylvania: IGI Global.
• Jorgensen, E. (2014), ‘Face-to-face and distance teaching and learning in higher education: Lessons from the preparation of professional musi-cians’, Journal of Music, Technology & Education, 7:2, pp. 181–97, https://doi. org/10.1386/jmte.7.2.181_1. Accessed 11 April 2021.
• Juslin, P. N. (2003), ‘Five facets of musical expression: A psychologist’s perspective on music performance’, Psychology of Music, 31:3, pp. 273–302, https://doi.org/10.1177/03057356030313003. Accessed 11 September 2020.
• Kesendere, Y., Şenol Sakin, A. and Acar, A. (2020), ‘Educators’ views on online/ distance violin education at COVID-19 outbreak term’, Journal for the Interdisciplinary Art and Education, 1:1, pp. 1–19.
• King, A., Prior, H. and Waddington-Jones, C. (2019a), ‘Connect resound: Using online technology to deliver music education to remote communities’, Journal of Music, Technology & Education, 12:2, pp. 201–17.
• King, A., Prior, H. and Waddington-Jones, C. (2019b), ‘Exploring teachers’ and pupils’ behaviour in online and face-to-face instrumental lessons’, Music Education Research, 21:2, pp. 1–13, https://doi.org/10.1080/14613808.2019.1 585791. Accessed 12 April 2021.
• Kohut, D. L. (1985), Musical Performance: Learning Theory and Pedagogy, Hoboken, NJ: Prentice-Hall.
• Kouutsoupidou, T. (2014), ‘Online distance learning and music training: Benefits, drawbacks and challenges’, Open Learning: The Journal of Open, Distance and e-Learning, 29:3, pp. 243–55.
• Kruse, N., Harlos, S., Callahan, R. and Herring, M. (2013, ‘Skype music lessons in the academy: Intersections of music education, applied music and tech-nology’, Journal of Music, Technology & Education, 6:1, pp. 43–60.
• Lisboa, T., Jónasson, P. and Johnson, C. (2020), ‘Synchronous online learning, teaching and performing’, in G. McPherson (ed.), The Oxford Handbook of Music Performance, Oxford: Oxford University Press.
• McGonigal, K. (2005), ‘Teaching for transformation: From learning theory to teaching strategies’, Speaking of Teaching, 14:2, pp. 1–4.
• Meissner, H. and Timmers, R. (2019), ‘Teaching young musicians expressive performance: An experimental study’, Music Education Research, 21:1, pp. 20–39.
• Merrick, B. (2020), ‘Changing mindset, perceptions, learning, and tradition: An “Adaptive Teaching Framework” for teaching music online’, International Journal on Innovations in Online Education, 4:2, pp. 1–17, https://doi. org/10.1615/IntJlInnovOnlineEdu.2020035150. Accessed 12 April 2021.
• Nijs, L., Lesaffre, M. and Leman, M. (2013), ‘The musical instrument as a natural extension of the musician’, in M. Castellengo, H. Genevois and J. M. Bardez (eds), Music and Its Instruments, Sampzon: Editions Delatour France, pp. 467–84.
• Oore, S., Simon, I., Dieleman, S., Eck, D. and Simonyan, K. (2020), ‘This time with feeling: Learning expressive musical performance’, Neural Computing and Applications, 32:4, pp. 955–67.
• Orman, E. K. and Whitacker, J. A. (2010), ‘Time usage during face-to-face and synchronous distance music lessons’, American Journal of Distance Education, 24:2, pp. 92–103.
• Pike, P. D. (2020), ‘Preparing an emerging professional to teach piano online: A case study’, International Journal on Innovations in Online Education, 4:2, pp. 1–14, https://doi.org/10.1615/IntJlInnovOnlineEdu.2020034417. Accessed 12 April 2021.
• Pike, P. and Shoemaker, K. (2013), ‘The effect of distance learning on acquisi-tion of piano sight-reading skills’, Journal of Music, Technology & Education, 6:2, pp. 147–62.
• Redman, B. (2020), ‘The potential of videoconferencing and low-latency (LoLa) technology for instrumental music teaching’, Music & Practice, 6, p. 15.
• ‘rhythm’ (2001), Oxford Music Online, Oxford: Oxford University Press, https://www-oxfordmusiconline-com.universidadviu.idm.oclc.org/grovemu-sic/view/10.1093/gmo/9781561592630.001.001/omo-9781561592630-e-0000045963. Accessed 15 September 2020.
• Riley, H., MacLeod, R. and Libera, M. (2016), ‘Low latency audio video’, Applications of Research in Music Education, 34:3, pp. 15–23.
• Rofe, M., Murray, S. and Parker, W. (2017), ‘Online orchestra: Connecting remote communities through music’, Journal of Music, Technology & Education, 10:2–3, pp. 147–65.
• Schiavio, A., Schyff, D. van der, Biasutti, M., Moran, N. and Parncutt, R. (2019), ‘Instrumental technique, expressivity, and communication. A qualitative study on learning music in individual and collective settings’, Frontiers in Psychology, 10:Apr, p. 737.
• Schreier, M. (2012), Qualitative Content Analysis in Practice, Thousand Oaks: Sage.
• Shoemaker, K. and van Stam, G. (2010), ‘ePiano, a case of music education via internet in rural Zambia’, Web of Science Conference, 26–27 April, Raleigh, NC, USA.
• Smith, G., Moir, Z., Ferguson, P. and Davies, G. (2020), ‘Low-latency networked music collaborations: Does “good enough” do enough good?’, Journal of Network Music and Arts, 2:1, https://commons.library.stonybrook.edu/jonma/vol2/iss1/5. Accessed 11 April 2021.
• Smith, S. W. (1999), The Scientist and Engineer’s Guide to Digital Signal Processing, California: California Technical Publishing.
• Stevens, R., McPherson, G. and Moore, G. (2019), ‘Overcoming the “tyranny of distance” in instrumental music tuition in Australia: The iMCM project’, Journal of Music, Technology & Education, 12:1, pp. 25–47, https://doi. org/10.1386/jmte.12.1.25_1. Accessed 10 April 2021.
• ‘tempo’ (2001), Oxford Music Online, Oxford: Oxford University Press, https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000027649. Accessed 15 September 2020.
• Waddell, G. and Williamon, A. (2019), ‘Technology use and attitudes in music learning’, Frontiers in ICT, 6:11, pp. 11–23.
• Zhukov, K. (2004), ‘Teaching styles and student behaviour in instrumental music lessons in Australian conservatoriums’, Ph.D. thesis, Sydney: University of New South Wales.
• Zoom Website (2020), ‘Enabling option to preserve original sound’, Zoom Video Communications, Inc., 25 April, https://support.zoom.us/hc/en-us/articles/115003279466. Accessed 18 September 2020.