Rubrics and Evaluation Tools

2019 ◽  
pp. 189-198
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Online Education ◽  
Academic Growth ◽  
Music Appreciation ◽  
Evaluation Tools ◽  
Online Music

This chapter explores evaluation tools to provide feedback throughout an online music appreciation course. Students can learn better when they receive supported feedback evaluating their work, and students’ complaints in online education often stem from a lack of such feedback, minimal grading comments, or scores that seem arbitrarily derived. Readers will find example rubrics, checklists, and evaluative tools, together with examples of feedback, to guide them in evaluating students’ submitted work and further guide students’ academic growth. The chapter ends with a brief summary of important points and an infographic designed to visually highlight four common types of evaluation tools and their qualities for online music appreciation classes.

Philosophy and Mindset for Online Education

2019 ◽  
pp. 27-50
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Online Education ◽  
Music Education ◽  
Online Teaching ◽  
Music Appreciation ◽  
Teaching Online ◽  
Teaching Philosophies ◽  
Learner Centered ◽  
Online Music ◽  
Teaching Music ◽  
Personal Philosophy

This chapter introduces teaching philosophies that apply to music appreciation and online education, and ways in which music appreciation instructors might develop or refine a philosophy for teaching the course online that can withstand various inherent challenges. Developing a philosophy for teaching music appreciation online can support instructors by giving them purpose and clarity about instructional choices and daily online teaching. The philosophy traditionally associated with music appreciation classes, an aesthetic philosophy, is introduced, alongside the learner-centered, participatory praxial music education philosophy. Readers are provided with example philosophy statements that have guided some instructors’ approaches to teaching music appreciation and questions that can guide one’s development of a personal philosophy for teaching online music appreciation. Additional considerations for attitudes and assumptions are provided that promote success when teaching online. The idea that one’s philosophy and mindset drive the choice of methods and teaching strategies is core to this chapter. This chapter ends with a brief summary of important points and an infographic designed to visually highlight philosophical questions, mindset tips, and ways in which online music appreciation instructors can find satisfaction and identity in their roles.

scholarly journals Peculiarities of interaction between a teacher and a student musician in online education

2020 ◽  
Keyword(s):  
Distance Learning ◽  
Online Education ◽  
Research Work ◽  
Professional Activity ◽  
First Year ◽  
Internet Resources ◽  
Online Music ◽  
Artistic Images ◽  
Independent Work ◽  
Artistic Image

The article is devoted to the problem of interaction between a teacher and a student of musical education in the process of distance learning. The main tasks facing each teacher during the quarantine period are outlined, and the preference is given to the ability to master the techniques of conducting online music lessons using various Internet resources or platforms for maintaining feedback. The author gives examples of online piano lessons, which took place individually with each student in a convenient mode for them. Attention is drawn to the problems that arose during the implementation of team tasks. Particular attention is paid to the research work of applicants, which ensured their continuous participation in scientific activities throughout the distance learning. The result was the performance of a first-year student at an online conference of the piano department with a report on the peculiarities of the reproduction of the artistic image in a musical work, which ended with the performance of an instrumental lyric piece. The research work provides an opportunity to show analytical abilities, observation, concentration, flexibility of thinking, which helps student musicians to acquire skills of independent work for future professional activity, promotes the development and formation of their personal qualities. The proposed study focuses on the peculiarities of interaction between the subjects of distance education who took an active part in prestigious international competitions and festivals in the category of instrumental art, which were held online. The specifics of work on musical pieces are revealed, the main difficulty of which is the true reproduction of artistic images.

Curriculum Content

2019 ◽  
pp. 81-97
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Open Educational Resources ◽  
Educational Resources ◽  
Music Appreciation ◽  
Curriculum Content ◽  
Limit Setting ◽  
Video Lectures ◽  
Online Music ◽  
The Many

This chapter introduces the many resources that come together to create the online music appreciation course curriculum. Because curriculum is the main content of the course, judiciously selecting from among the many options available to determine suitable content is essential. Readers will learn about limit-setting and curriculum components. Additionally, guidance for choosing a textbook and a review of major textbooks in print is provided, as well as a discussion of open educational resources (OERs) and sample resources. Some discussion is included about creating and providing instructor video lectures. The chapter ends with a brief summary of important points and an infographic designed to visually highlight the qualities and benefits of four major types of curriculum content.

Big-Picture Planning and Backward Mapping

2019 ◽  
pp. 53-80
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Large Scale ◽  
Online Courses ◽  
Open Educational Resources ◽  
Music Appreciation ◽  
Course Development ◽  
Writing Course ◽  
Online Music ◽  
Big Picture ◽  
Backward Mapping ◽  
Online Methods

In the second section, Planning the Course, readers who need to develop online courses will find sequential guidance and sample planning documents to aid in large-scale thinking, curriculum selection, and general course development. This section includes chapters that guide readers on writing course objectives and learning outcomes, backward mapping, determining how to narrow down what will be taught, writing or choosing curriculum, navigating textbooks and open educational resources (OERs), and considering online methods and strategies. Each chapter in this section targets course development and design to support online music appreciation instructors as they create, transfer, or refresh online music appreciation courses.

Ending the Course

2019 ◽  
pp. 285-296
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Music Appreciation ◽  
Online Class ◽  
Online Music

This chapter presents strategies to teach out the final week of online music appreciation effectively. Just as the first week of an online class can be prepared with standard approaches and a checklist of activities, the final week will conclude in the best ways possible through preparations and a checklist of closing instructor activities. A list of final week essentials is provided, with examples to assist instructors in preparing for and teaching out the final week of an online music appreciation class. The chapter ends with a brief summary of important points and an infographic designed to visually highlight three essential ways online music appreciation instructors can prepare for the final week of class to meet students’ needs, streamline communications, and focus grading efforts.

Assignments

2019 ◽  
pp. 167-188
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Alternative Assessment ◽  
Essential Elements ◽  
Assessment Methods ◽  
Learning Activities ◽  
Music Appreciation ◽  
Applied Learning ◽  
Alternative Assessments ◽  
Online Music ◽  
Online Assignments

The chapter presents alternative assessment methods that could be used as assignments in online music appreciation classes. Alternative assessments, often called applied learning activities, give students a means through which they can extend or document their learning and express what they’ve learned in their own “voice.” Guidelines for effective online assignments and essential elements for clear assignment descriptions are included. Readers will come away with plagiarism guidance and example assignments that can be immediately used. The chapter ends with a brief summary of important points and an infographic designed to visually highlight guidelines and essential elements of effective online music appreciation assignments, with four powerful questions to help instructors determine whether the assignment description is sufficiently clear and detailed.

scholarly journals Students' Attitudes Toward Online Music Education During the COVID 19 Lockdown

2021 ◽  
Vol 12 ◽  
Author(s):  
Mǎdǎlina Dana Rucsanda ◽  
Alexandra Belibou ◽  
Ana-Maria Cazan
Keyword(s):  
Online Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Future Research ◽  
Learning Methods ◽  
Learning And Teaching ◽  
Perceived Utility ◽  
Online Music ◽  
E Learning ◽  
Students Attitudes

Given the current pandemic context generated by COVID 19, important changes in the way specific subjects to music education are taught emerged, affecting not only the particularities of learning and teaching in individual courses, but also the other courses regarding group learning or theoretical subjects. In this time, emergency remote teaching and learning requires cross-collaboration between instructional, content, and technological teams. Our research examines the students' attitudes toward online education, also presenting proposals for optimization and efficiency. The research was undertaken after an experience of a University semester in a lockdown context, and it aimed at undergraduate and master's degree students from music faculties in Romania. An important result was the mediating role of perceived utility of e-learning methods, perceived utility mediated the associations between compatibility of online methods and satisfaction toward the use of e-learning methods. The perceived compatibility of e-Learning methods with online music education led to a higher perceived utility which, in turn, predicted a higher satisfaction toward e-Learning Although this period accentuated the fear of interaction with others, the anxiety related to the unknown, the intolerance of uncertainty did not predict the satisfaction toward the use of e-learning platforms. In conclusion, more educational initiatives are needed to promote remote teaching methods in music education. In the absence of similar research in our country, we considered that future research on this topic is needed.

Assisting Students

2019 ◽  
pp. 269-284
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Adult Learners ◽  
Students With Disabilities ◽  
Life Events ◽  
Music Appreciation ◽  
Task Management ◽  
Students With Special Needs ◽  
Effective Strategies ◽  
Online Music ◽  
The Common ◽  
Communication Needs

This chapter presents many of the common challenges that online students face and provides instructors with effective strategies through which to address related students’ needs. Instructors who teach online will encounter adult learners with particular learning and communication needs, students who experience time and task management challenges, students with disabilities, nonmusicians who do not understand, students with poor communication or writing skills, students with life events that interrupt their progress or cause them to disappear during a course, and challenging students who question or provoke their instructor and classmates. Readers will find within this chapter supportive strategies to guide them through such circumstances, with outreach and communication scripts that are intended to further support their teaching. The chapter ends with a brief summary of important points and an infographic designed to visually highlight means by which instructors can support and assist students with special needs or challenges in online music appreciation classes.

Methods and Strategies

2019 ◽  
pp. 97-112
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Group Work ◽  
Course Design ◽  
Learning Activities ◽  
Music Appreciation ◽  
Online Classes ◽  
Skill Sets ◽  
Design Elements ◽  
Face To Face ◽  
Asynchronous Discussions ◽  
Online Music

This chapter presents methods and strategies that can be considered when developing an online music appreciation class. When compared to a live, face-to-face course, online classes have more structure and must be fully developed prior to the first day of class. For these reasons, some methods and strategies are specific elements of the course design rather than educator skill sets used only when teaching the course. Readers will find several strategies introduced that can be considered early for course design elements, such as asynchronous discussions and group work. A variety of formative and summative learning activities are conceptually introduced to facilitate planning and development. The chapter ends with a brief summary of important points and an infographic designed to visually highlight five types of methods and strategies that can be included when designing an online music appreciation course.

Teaching the Course

2019 ◽  
pp. 245-269
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Time Management ◽  
Online Communication ◽  
Essential Elements ◽  
Cognitive Presence ◽  
Music Appreciation ◽  
Online Classroom ◽  
Teaching Online ◽  
Face To Face ◽  
Online Music ◽  
Face To Face Learning

This chapter provides a framework and guides for teaching the online music appreciation class in ways that suit the online modality and a variety of learners. Because it is much more challenging to build community and connect with others in an online classroom when compared to face-to-face learning, and community is essential to learning, a framework for teaching online that includes aspects most likely to promote community among learners and between students and their instructor is needed. Readers will find helpful guidance to develop a robust community of inquiry within the online music appreciation classroom, along with communication strategies and routines typical of online teaching. The chapter ends with a brief summary of important points and an infographic designed to visually highlight essential elements for teaching online music appreciation, including teaching, social, and cognitive presence; guidelines for online communication while teaching a class; time management tips; and weekly routine suggestions.

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