ONLINE MUSIC EDUCATION STREAM INTRODUCTION

2017 ◽  
Vol 1 (1) ◽  
pp. 2
Author(s):  
Carol Johnson
Keyword(s):  
Music Education ◽  
Online Music

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

scholarly journals Studies of E-Learning in Practice

2017 ◽  
Vol 10 (2) ◽  
pp. 39
Author(s):  
Manfred Rechberger
Keyword(s):  
Music Education ◽  
Performing Arts ◽  
Computer Assisted ◽  
Discussion Forums ◽  
Creative Processes ◽  
Advantages And Disadvantages ◽  
User Behaviors ◽  
Learning Platform ◽  
Online Music ◽  
E Learning

<p>Computer assisted and computer based applications become more and more important in everyday lives. Their implementation in the field of music education seems to become a long-term project. Whereas years ago we were sure about the fact, that the quality of e-learning at our University of Music and Performing Arts depends on the implementation of audio-visual media at our e-learning platform, nowadays the text based tasks and written journals have won the race at least in the statistic of usage. </p><p>Many modules containing multimedia based content promote creative processes and different learning situations. Advantages of e-learning include flexibility and convenience for learners, especially if they have more variety in learning experiences by using multimedia applications. This paper deals with the change of our user behaviors in the last years, discussion forums, blogs, wikis and collaborative online activities and focuses on tools for musicians, composers and music scientists based on the actual status of the discussions in media pedagogies. A scientific project including surveys about the advantages and disadvantages of digital teaching repositories describes common used online music tools. </p><div><span><strong><br /></strong></span></div>

Exploring hip hop music education through online instructional beat production videos

2019 ◽  
Vol 12 (3) ◽  
pp. 247-260 ◽  
Author(s):  
Adam J. Kruse ◽  
Stuart Chapman Hill
Keyword(s):  
Music Education ◽  
Hip Hop ◽  
Future Research ◽  
Important Distinction ◽  
Production Practice ◽  
Vernacular Music ◽  
Instructional Characteristics ◽  
Online Music ◽  
Musical Practices ◽  
Music Research

This study explores online instructional beat production videos as a way to inform hip hop and popular music education and diversify scholarship in online music learning. The authors conducted a content analysis of YouTube videos, considering the instructional characteristics and content of these videos and the musical technologies employed within them. Findings highlight the importance of YouTube as a repository of hip hop beat production instructional material. Videos focused on composition of new beats, rather than re-creation of existing material, underlining an important distinction between hip hop musical practices and the ‘listen and copy’ approach identified in other vernacular music research ‐ and a distinction between these videos and others studied in extant music education scholarship that focuses on YouTube. The videos showcased varied technologies, some of which (e.g., FL Studio) seem especially well aligned with beat production practice. The article concludes with considerations for music educators and for future research.

scholarly journals Evolving technologies require educational policy change: Music education for the 21st century

2013 ◽  
Vol 29 (5) ◽  
Author(s):  
Renee Crawford
Keyword(s):  
Young People ◽  
Music Education ◽  
21St Century ◽  
Rural Areas ◽  
Digital Learning ◽  
Learning And Teaching ◽  
Area Of Interest ◽  
Online Music ◽  
Rural And Remote Areas ◽  
And Performance

<p>There is growing discussion among education and government authorities on rethinking education in the 21st century. This increasing area of interest has come in response to the evolution of technology and its effect on the future needs and requirements of society. Online applications and social networking capabilities have accelerated in popularity, revealing their potential. The recognised benefits of technology for the use of music education have resulted in collaborative projects and learning and teaching that is not constricted by walls or location. Music education can be accessible to all young people through a combination of social media, blogging and interactive creative musical activities to engage students in all locations, including rural and remote areas. In this 21st century classroom, music education includes online resources, digital learning, in-school workshops, online master classes and live concert streaming where a range of musical styles are explored. This article explores the learning and teaching outcomes of <em>Project Music X</em>, an online music education project designed to fill an important gap in the provision of music education programs in regional and remote schools using a range of web 2.0 technologies. Technology in this context does not only align with the thinking of young people, but also provides a platform for students in remote and rural areas to engage with high quality music education and performance experiences that they would otherwise not have access to.</p>

Playing Together

2018 ◽  
pp. 183-201
Author(s):  
Jennifer V. Lock ◽  
Carol Johnson
Keyword(s):  
Online Learning ◽  
Music Education ◽  
Learning Outcomes ◽  
Social Constructivism ◽  
Meaning Making ◽  
Digital Technologies ◽  
Careful Consideration ◽  
Future Research ◽  
Online Environment ◽  
Online Music

Music education, like many disciplines, is transitioning to the online environment, which impacts the learning landscape. 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. The affordance of digital technologies (e.g., synchronous and asynchronous, multimedia) provides a means for creating and articulating knowledge. 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. 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. The chapter concludes with directions for future research and implications for practice.

Online music education for sustainable development: Analysis of music learning videos in e-Hakseupteo

2021 ◽  
pp. 025576142110588
Author(s):  
Young Joo Park
Keyword(s):  
Music Education ◽  
Educational Opportunities ◽  
Opportunities To Learn ◽  
Video Content ◽  
Music Learning ◽  
Learning Platform ◽  
Online Music ◽  
E Learning ◽  
Development Analysis ◽  
Specific Agent

This study investigates music learning video content at e-Hakseupteo, a government-supported e-learning platform utilized during the COVID-19 pandemic, and provides suggestions for remote music learning in the future. The data from music learning videos in e-Hakseupteo were extracted via each subject to statistically analyze the data in various aspects including provision regions, the content providers, target audiences, video titles, and contents of each music learning video. As a result, this analysis demonstrated that e-Hakseupteo offered students fewer opportunities to learn music than other subjects because of the significant lack of music learning videos. In addition, e-Hakseupteo has provided unequal music educational opportunities and regional discrepancy due to the unintentional access settings. Finally, the music learning videos at e-Hakseupteo were produced by specific agent groups in Seoul with limited experts. Implications and suggestions are provided for the sustainability of remote learning in music education.

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.

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