| Preface |
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xvi | |
| Acknowledgment |
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xxi | |
| Introduction |
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xxii | |
| Section 1: Introduction: Embracing Online Music Pedagogy |
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Chapter 1 Preparing for Change: Getting Ready for Offering Online Music Courses |
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1 | (20) |
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Transforming music education for twenty-first century learning involves more than offering online courses within School of Music programs. |
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Teaching and learning music online requires strategic support from both institutions and faculty members. |
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As such, this chapter identifies ways post-secondary music education administrators can address strategic elements of sustainability (i.e., longevity) and innovation. |
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Central aspects of collaboration through network theory, the Community of Inquiry framework, and systems thinking can better position higher education music programs to embrace the complexities of innovative technologies for sustainability. |
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By incorporating strategic determination and the strengths of its past, music education can welcome its innovative compliments such as new pedagogical frameworks and online learning technologies to effectively prepare our students for their futures. |
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| Section 2: Practical Applications: Practical Strategies and Methods for Designing Online Music Courses |
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Chapter 2 Online and Face-to-Face Voice Instruction: Effects on Pitch Accuracy Improvement in Female Voice Majors |
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21 | (24) |
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Amanda J. Rockinson-Szapkiw |
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Traditionally, post-secondary-level voice training has relied upon face-to-face interaction. |
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Concerns about the viability of the online environment to facilitate the interaction needed to teach discipline- specific vocal skills has delayed adoption of online voice teaching in online music programs. |
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This chapter discusses online and face-to-face voice instruction and presents evidence of a research study examining the two delivery methods. |
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The study examined the difference in pitch accuracy improvement scores of 78 female collegiate voice majors at a large university in the mid-Atlantic United States in an effort to determine efficacy of online voice instruction and traditional face-to-face voice instruction according to pitch accuracy improvement. |
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These results demonstrate that no significant difference was found between pitch accuracy improvement scores of 37 voice majors trained and tested online versus 41 voice majors tested face-to-face, suggesting that online voice training is as effective as traditional face-to-face voice training pertaining to pitch accuracy instruction. |
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Chapter 3 One Post and Two Responses: Enlivening the Online Discussion Forum |
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45 | (24) |
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This chapter considers the online discussion forum in music education. |
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It begins with an overview of factors leading to faculty frustration with online discussions before considering how discussions fit within the context of several prominent learning theories, including Connectivism and Collaborativism, which specifically address the online platform. |
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Particular challenges are explored and include post lengths, quality, language/style, group size, heated discussion, and faculty involvement in the ongoing conversation. |
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The chapter concludes by offering a "toolbox" of best practice ideas in online discussion. |
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Through use of examples, the section seeks to help faculty move beyond the tried and tired format of one post and two responses. |
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Chapter 4 What to Listen For: Making Music Appreciation Work for Everyone |
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69 | (16) |
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This chapter is a reflective narrative. |
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When the author took music appreciation as an undergraduate music major, it was still taught in the "traditional" style: an overview of the rudiments of music, followed by a chronological mad-dash through as much of the history of classical music as could be crammed into a semester. |
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In her later experiences as a teaching assistant and guest lecturer, the approach she chose was similar. |
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Many online versions of music appreciation courses rely on this format. |
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Such a course favors only the most ideal student. |
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This chapter focuses on addressing the needs of typical students in music appreciation courses, and offers suggestions for making online, hybrid, and traditional courses more useful to both students and instructors. |
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If future online courses hope to succeed in giving students a thorough background in academic musical skills, then they will need to address the digital divide as well as the musical divide between their resourced and under-resourced students. |
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Chapter 5 Open Inquiry as a Bridge Between Formal and Informal Lifelong Online Learning |
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85 | (25) |
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Catherine A. Schmidt-Jones |
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Many music educators have noted a gulf between what is taught in music courses and students' own interests. |
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Technology not only offers various means to help bridge that gulf; it has also created a fast-paced world in which success may depend on the ability to continue learning throughout life. |
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Using online open education resources to support course projects involving open-ended inquiry can help bridge the gulf between curriculum and student goals in ways that prepare students for lifelong learning. |
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The breadth of offerings on the open Internet make personalized course projects feasible, and students may need the guided practice in using them to reach their learning goals. |
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This chapter discusses an action research project which facilitated the inquiries of self-motivated adult online music learners in order to better understand their needs and experiences. |
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Communities of practice, flexible processes, and learner familiarity with inquiry emerged as key issues. |
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| Section 3: Interactivity: Creating Interaction in Online Music Courses |
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Chapter 6 Using Interactivity to Improve Online Music Pedagogy for Undergraduate Non-Majors |
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110 | (26) |
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This chapter explores two aspects of online music pedagogy. |
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First, it covers the basic design considerations of offering an interactive music course online. |
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This includes both pedagogical and technological aspects of online music instruction and delivery. |
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After establishing the framework for online music course delivery, the chapter investigates the use of interactivity to improve undergraduate, non-music-major student performance in the author's online-music (jazz) appreciation course at the University of South Dakota (USD). |
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The approach is evidence-and research-based, which is described in greater detail in the chapter. |
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Furthermore, the tools used to enhance the interactivity of the course-specifically, adding game-based learning-are explored and connected to instructional research completed at USD. |
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Chapter 7 Extending the Apprenticeship Model of Music Instruction in Higher Education With Facebook Groups |
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136 | (29) |
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Although faculty may not believe that they are legitimately "teaching" while engaging with students via Facebook, results of interviews and publicly available Facebook data clearly document intentional music faculty activities that fit the description of teaching through enculturation. |
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This situates the phenomenon of Facebook groups firmly within the larger apprenticeship model in use in music departments; the process of enculturation through Facebook is used to teach new apprentices how to become functional members of their musical communities. |
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Recommendations generated from the research and discussed in this chapter include addressing faculty concerns about personal and professional risk, departmental development of guidelines for Facebook group use and management that is based in enculturation theory, and training for music faculty in the use of social media channels as opportunities for teaching and learning. |
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| Section 4: Theories in Action: Theoretical Constructs to Consider for Online Music Pedagogy |
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Chapter 8 The Cloud of Musical Knowledge: Towards a Critical Music Theory Pedagogy |
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165 | (18) |
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This chapter positions the teaching of music theory in the online sphere as a powerful and unlikely site for critical pedagogy. |
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Teaching music theory in the online platform should not ask questions of how best to digitally recast music theory classes, but to consider how teaching online can change the way students approach, explore, and respond to theory content. |
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This happens in what the author labels "the cloud of musical knowledge," which is mutable, accessible, and democratic. |
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Music theory suffers from being largely considered separate from political and cultural discussion, and as a result is a hidden bullet of neoliberalism and conservativism that reminds students from minorities that their opinions do not matter and similarly it does not remind other students to consider their own privileged perspective. |
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By exploring the intersections of critical pedagogy and music theory and detailing the structure of online music theory lessons, the author argues for an open and inviting space in which students do not think of music theory as being other than themselves and their experience. |
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Chapter 9 Playing Together: Designing Online Music Courses Using a Social Constructivist Framework |
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183 | (19) |
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Music education, like many disciplines, is transitioning to the online environment, which impacts the learning landscape. |
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This transition, along with a mindshift by instructors, requires careful consideration of the theoretical underpinnings needed to inform the design, facilitation and assessment to create conditions where students are actively engaged in learning and meaning making. |
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The affordance of digital technologies (e.g., synchronous and asynchronous, multimedia) provides a means for creating and articulating knowledge. |
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This chapter discusses online learning and explores the nature of constructivist and social-constructivist theories and how they can be applied in the design, facilitation, and assessment of online music education. |
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Examples of constructivist learning in online music courses are shared for the purpose of examining how technology can be used to support the learning outcomes grounded on social constructivism. |
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The chapter concludes with directions for future research and implications for practice. |
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Chapter 10 A Model for Online Music Education |
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202 | (25) |
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This chapter proposes a sustainable model for online music education in post-secondary contexts. |
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This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. |
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The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. |
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The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. |
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The chapter can serve to disrupt traditional conceptions of musical teaching/learning. |
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By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers. |
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| Section 5: Reflective Narratives: Learning More About the Current Landscape of Online Music Courses Through Reflective Narratives |
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Chapter 11 Teaching Reflections on Two Decades of Online Music Courses |
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227 | (17) |
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Online music courses can be as diverse as the musical styles taught; however, the basic premise still includes content delivery, discussion, and assessment. |
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The work of creating the course is imperative to the success of the future students. |
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Through 20 years of online teaching and over 5,000 students, the learning has been two-ways. |
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This chapter shares a number of takeaways from this history: personalizing the learning; using grading rubrics for authentic assessments; scaffolding the learning; formative assessments, interactions are essential to engagement and motivation, ADA compliance (in the United States), respecting copyrights, and how the grade is not the end of the learning. |
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A number of rubrics are provided illustrating authentic assessments for music courses. |
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The use of virtual learning through a series of immersive activities is also discussed with a Second Life series of jazz styles. |
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Finally, a mobile app is shown as a method of helping students to compose and perform a Blues song using 12-bar Blues and AAB lyrics. |
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Chapter 12 Sharing Our Narratives on Developing Our Practice in Online Music Pedagogy |
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244 | (19) |
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This chapter begins with an introduction focused on the importance of instructor's reflection on his/her teaching practices and pedagogy through the theoretical lens of Schon's work on reflection-in-action and reflection-on-action. |
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Five case narratives are presented that highlight instructors at different entry points into their experiences of teaching music online. |
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The narratives outline significant learning processes that took place as instructors continued on their journey in teaching music online. |
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The implications raised from the narratives identify the need for effective online learning systems for music, institutional support for instructors teaching music online, and a need for online music instructors to have resilience and adaptability when teaching music online. |
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Additionally, the various contexts of teaching music online signals a need for future research in the areas of: active learning for online music courses, appropriate technology tools available with a LMS, and collaborative online music tasks for effective student learning outcomes. |
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Chapter 13 Creating Authentic Assessments for Online Music Courses: Mapping a Learning Task |
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263 | (24) |
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The need for identifying authentic assessments, or learning tasks, in online music courses is becoming integral as the rate of online music course offerings has been exponentially increasing. |
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Supportive research also suggests that instructors teaching in higher education may require a paradigm shift in their pedagogical approach as they develop social-constructivist based authentic assessments for music subjects taught in an online environment. |
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To assist with the understanding of both why and how to generate authentic assessment for a Bachelor's-level online music course, the chapter explores the nature of authentic assessment for music and Koh's Criteria for Authenticity in Authentic Assessment. |
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Finally, to provide a practical exemplar of how online discussions can be used as an authentic learning tool in the online music class, an online discussion task for a songwriting class is identified and examined through the lens of Koh's characteristics. |
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| Section 6: Moving Forward: Building Sustainability and Knowledge of Online Music Pedagogy Through Faculty Collaboration and Professional Development |
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Chapter 14 Meta-Literacy in the Online Music Classroom: Opportunities for Instructor and Librarian Collaboration |
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287 | (19) |
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Studying music in an online setting requires that students and instructors leverage digital resources and participatory technologies with understanding and intentionality. |
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Meta-literacy, a framework promoting critical thinking and collaboration, is an inclusive approach to understanding the complexities of information use, production, and sharing in a digital environment. |
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This chapter explores the implications of meta-literacy for the online music classroom and identifies ways in which the librarian and music instructor can collaborate to promote student self-reflection on the use, creation, and understanding of musical information or content. |
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Chapter 15 Personalizing Educational Development for Online Music Educators: A Coaching Approach |
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306 | (14) |
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With the growing trend of online music education, how can educational development be more personalized to meet the individual instructor's pedagogical and technological needs? Coaching provides a means to empower online music education instructors to guide their own learning through purposeful and intentional conversations. |
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From a review of the literature, the purpose of this chapter is to examine how and why coaching can be used in fostering robust educational and professional development practices for online music education. |
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Forms of coaching along with elements of a successful coaching program are shared in support of online music education. |
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The chapter concludes with four recommendations to guide coaching practice in support of personalizing learning for instructors and directions for future research. |
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| Compilation of References |
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320 | (40) |
| About the Contributors |
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360 | (6) |
| Index |
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366 | |
Lisainfo e-raamatute kohta