Pedagogy Development for Teaching Online Music

2018 ◽  
Author(s):  
Bethanie L. Hansen

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.


Author(s):  
Paul Smith

This chapter positions the teaching of music theory in the online sphere as a powerful and unlikely site for critical pedagogy. 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. This happens in what the author labels “the cloud of musical knowledge,” which is mutable, accessible, and democratic. 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. 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.


Author(s):  
Bethanie L. Hansen

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.


2021 ◽  
Vol 94 (3) ◽  
pp. 51-56
Author(s):  
Danica Guerrero

Author(s):  
Claire Luby ◽  
Emily Tepe ◽  
Laura Irish ◽  
Thomas Michaels ◽  
Emily Hoover

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