RUNNING HEAD: E-LEARNING AND MUSIC EDUCATION
E-LEARNING AND MUSIC EDUCATION
Can e-learning technologies be used to effectively teach instrumental music to classrooms and individuals?
Kimberley HaasETEC 50017997099
Table of Contents
Introduction 3
Research Problem 3
Rationale for the Study . 3
Research Questions 4
Review of Literature .. 5
Methods .. 12
Research Design 15
Limitations of the Study 17
References 18
Introduction
Research ProblemMusic education has traditionally been taught in a face-to-face environment only. This method of teaching has been in place for hundreds of years, and has worked very well for the students who are able to access it. Music and the arts are being recognized more and more as core courses, vital to a students learning experience in school. All students should have the opportunity to learn about music in some form, be it in the traditional sense of learning an instrument, or in a non-traditional way by learning to compose music with a synthesizer and a computer. Music is relatable to all people, no matter their age, socio-economic background, gender or race. Anyone can study music, and I would like to help them have access to different kind of learning experiences through technology and e-learning. With the increasing abilities of e-learning to reach students in remote areas, there is now an opportunity to reach more students in rural areas who do not have access to a music teacher. This study will review the tools available and their efficacy in teaching instrumental music to distance students by a trained music professional. It will also research the current e-learning tools available, and have them tested and reviewed by current music educations.
Rationale for the StudyThe study of instrumental music has long been seen as the pursuit of rich families. It is most often well off students and schools that have music education as part of their school lives, and unfortunately more and more music programs are being cut from at-risk schools. Also, there are many communities that have no access to a music teacher for their schools. In these situations can e-learning technologies, specifically an online learning platform, be used to affectively teach instrumental music to classrooms and individuals who might not otherwise have access to it?I have been a middle school music teacher for eight years, and my personal interests are in technology. I have always wanted to bring the two worlds together, and find a quality way to teach music via e-learning. I have also worked collaboratively with a teacher working in the interior of British Columbia who is not a trained music teacher, but who would like to provide some music education to his students. I would like to find a reliable way to bring music education into the lives of these students in remote areas that would otherwise not have any experience with learning music. Another part of this study will bring e-learning tools into the hands of current music educators. Most of these teachers use little to no technology in their current teaching, and I would like to help them find tools that work for them, as well as work with them to find new and interesting ways to use them.
Research QuestionsThis mixed method research study will look at the following questions:1) What e-learning tools are available to teach music to distance students?2) How can music professionals use these tools to teach distance students?3) What is the difference in the quality of learning, if any, between a face-to-face learning environment and an online learning platform?The first two questions will be studied using qualitative research forms, and the third question will be studied with a quantitative method.
Review of Literature
This literature review looks at articles with two main themes, the practice, pedagogy and support of studying music as well as articles that research the use of technology in music education. The articles that speak to general music teaching and learning, such as Shuler (1992 & 2012) give a good basis on what is seen as good music instruction, and what are the themes in the field. The technology specific articles, such as Callahan (2013), Adileh (2012) and Beckstead (2001) lay the groundwork for the study that I am proposing here. I have used the three research questions as guiding principles and ideas when searching for articles. Using the UBC database I searched for the terms music education and included pedagogy, technology and E-Learning to find the articles for this literature review.
To begin, even though the Shular (1992) article is dated, the teaching of music in the traditional classroom sense has not changed for many years. This article speaks to the importance of music education as a draw to keep at-risk students in school. For many at-risk students the problem is either that they dont desire to learn or they dont have the means to learn. Music classes can help with both of these situations. Shuler (1992) describes how this can be accomplished when he states, [m]usic classes typically combine a clear, hands-on purpose with motivating content. Students can also find a peer group be to a part of in music classes as well, helping them feel welcome, understood and supported at school. The same can be said for the teacher-student relationship as well. One music teacher often sees the students through many years of school, becoming a constant and relatable adult in their lives. This article demonstrated the need for music education in the school system. There are many schools without the access to music teachers who could benefit from having their students learn music in an e-learning environment. The question remains though if the learning will be at the same level, but having a class of like-minded students to work with will provide the inclusion and support that at-risk students need.
A second article by Shuler (2012), 20 years later, speaks to the authors view that music education should been seen as a civil right for students to have access to. This passionate article describes how education is not complete and well rounded without the arts, and that they should be seen as core subjects. The author cites statistics that show that the most at-risk schools are the ones least likely to have a music education program. He states, [t]he debate continues as to whether NCLB (No Child Left Behind) has reduced the achievement gap in the 3Rs of reading, writing, and arithmetic, but it clearly has not improved students' arts education. On the contrary, recently released data confirm that a decade of obsessive emphasis on standardized test scores has widened the opportunity- to-learn gap in music and the other arts. Education, especially in the USA, is becoming a civil rights issue, and the lack of access for all students to study music and the arts infringes on these rights. This article emphasizes the importance of arts education for students, and being able to teach these students via e-learning would grant that access, and help round their education to include this core subject. In keeping with the ideas of the current state of music education, the Klimai (2010) article is translated from Russian, and has some interesting insights into the current direction music education is going. There has been a long understood belief that the only instrumental performers that are truly excellent came from being child prodigies. And if not a true child prodigy they started practicing their instrument at a very young age, around 4-5 years old. This belief has lead many people to not even attempt to learn an instrument as an older student, or even as an adult. This article calls for a universal method of teaching older students instrumental music in a way that will allow them to compete with their peers who learnt at a younger age. The program should be not only about the physical playing of the instrument, but also learning about it as a form of artistic communication as well. This new method combines both the muscle memory learning of traditional music education as well as incorporates the emotions, thoughts and history of the music as well. This well-rounded approach is very transferrable to an e-learning environment because it doesnt rely solely on teaching the physical aspects of learning instrumental music. Instead it allows for the student to research the music, and get their own understanding and feel of the piece they are studying which can be done asynchronously.
In their article Dioglo et al. (2011) speak about the increasing need for e-learning in the world today, and specifically in music. There are so many remote areas without the access to quality education, and e-learning can help reach many of them. As an example the authors cite Africa, where large amounts of students are locked out of education making the need for teachers and learning exceed the available teachers and schools. The authors describe two aspects to learning music through e-learning; the first is what they call information-based content. This includes the study of musical theory and history, which can be learnt without the use of an instrument. The second is performance-based content where the student learns to play and perform on their chosen instrument. The study looks specifically at Virtual Classroom, blogs and wikis as ways to get these two types of content to the student. The study uses examples from Kenyatta University, Kenya who have successfully adopted a blended learning environment into their music and dance classes. This has also allowed them to collaborate with universities and professors that they wouldnt have otherwise had access to. Of course, there are challenges to this system as well. The study describes the key challenges as resistance to change the traditional music education methods, experience and proficiency with computers and technology as well as access to the hardware needed to run the courses. These are challenges that are common with all aspects of e-learning, not only e-learning music education. The need for access to music education and the increasing amount of people in remote and locked-out areas both speak to the need to create a reliable and effective way of teaching music in a way that is not limited by time or physical space.
Looking now at specific studies exploring music education and technologies, the Cerda et al. (2013) study is a joint venture between Universitat Politcnica de Valncia and the Computer Music Group from Carnegie Mellon University. They set out to create a modular software system to teach music using any low cost hardware, such as a tablet or smartphone. The two groups saw that music programs were being cut from many school systems around the globe, so they wanted to create a way to reach those students with music. They also wanted classroom teachers to be able to use their software to augment their teaching. The group from the Spanish university noted also that music education in the school system in Spain is not based fostering creativity in the students. It is taught in the same way that it has been taught for years where the emphasis is on creating excellent classically trained musicians who read their music well, and not play outside of that music. This software creates and mixes sounds that the student can create. The whole realm of classical music does not apply here, and the students are free to be creative with this new medium. The study uses a Spanish secondary school to test out their new software. An already formed class is broken into groups using the software on their personal devices. Unfortunately, they do not describe the outcomes of these student groups. As of the writing of this study the project is ongoing, and they are planning on working with more Web 2.0 tools in future iterations of the software.
One of my considerations when looking into using technology to teach music education over distance was to use Skype. The Callahan et al. (2013) case study looks specifically at conducting collegiate-level piano lessons via Skype. The study follows Steve, the instructor, and Michelle, his student. Michelle is a full time choral director who is taking courses at the university to complete her Masters degree. She lives far away from the university, but initially was travelling to the university in the summer to study with Steve and do her course work. Steve and Michelle are also contributing authors to the study. The study employs a particularistic case study design, and follows this one case. They run the study over sixteen weeks that included eight 50-minute lesson observations, two interviews, and eight bi-weekly e-journal entries. The authors worked together to synthesize the data, using one specific author as the person who compares all of the qualitative data. This case study is just that, a look at the experiences of one student and one teacher who are both also authors on the paper. Does that mean that this information is widely generalizable? No. However, there is good information here on what worked and what didnt for these specific people, allowing for me to learn from their experience.
Another look at teaching and learning music through technology at the post secondary level is the Adileh (2012) article which compares students achievement and attitudes towards music education between a blended method and face-to-face (FTF) only. The two guiding questions for this research are: 1. Is there a significant difference between the FTF group and the blended group in terms of course achievement? 2. Is there a significant difference between the FTF group and the blended group in terms of attitudes toward music?This study uses a pre-test/post-test control group method where the 179 university participants were assigned to groups specifically to make the groups equivalent. The experimental group was taught using the blended method, whereas the control group was taught using only the FTF model. The data was collected using an achievement test as well as an attitude scale. Interestingly the blended group was found to have been more successful by a statistically significant margin. Going hand in hand with these findings are the results of the attitude scales between the two groups. There is a small, but statistically relevant increase in the attitudes of the blended group over that of the FTF only group. The use of statistical analysis and creating clearly read tables add to the credibility of this study. However, the author does not speak to the possible problems with a pre-test model affecting their later results.
In this last article for this proposal Beckstead (2001) asks the question, will technology transform music education? This article looks specifically at the role of teaching composition in the school system. Composition is not something that is traditionally taught in the instrumental music class, it is seen as a completely different pursuit. Often, it is seen as a bygone art form that only the very elite and highly talented can take on. The author would like to see technology used to help bring this art form into the music classroom. He finds, however, that the technology is being used in the place of traditional methods, but with little change in the results. For example, its similar to when a classroom teacher assigns her class to create a PowerPoint presentation instead of making a paper collage. Technology is being used, but only to accomplish the same goals as before. In the case of music the new technologies include using computers and synthesizers to create music. This allows students to create music freely without having to concern themselves with notation. Notation can be a huge stumbling block to creativity, as it is very complex and hard to learn. Creating music based on sound alone frees the composer to worry about notation later, if at all. This opens up the access to music education to anyone who has basic computer skills. The need to know and learn and instrument and notation is no longer required for the study and composition of music. Bringing music education into the lives of people and students that have not been able to access it before is one of the goals of this study.
Methods
Statement of HypothesisMy first two questions have a guiding idea for my research, which is that there are many e-learning tools available for teachers, but not many that are specifically for the teaching and learning of music. These tools will allow teachers to bring a blended approach to music education in their classes. My literature review showed that students who participate in a blended learning environment achieve higher scores and report that they have a better attitude towards music. Learning how to mold these tools for use in the music classroom will be part of the outcome of the study. My third question does have a hypothesis, which is:The learning of instrumental music is a complex and physical study that will have difficulties replicating via an online learning platform. However, the study of music in any form does have inherent value, and should be supported.There are so many different kinds of music instruction that I could study, but I wanted to go straight for the most complicated to replicate in an e-learning environment. This study will not look at general music classes that can be taught via e-learning, however this is another field I would like to research in the future.
Logistics PlanThis plan outlines the details of the qualitative study. A group of 10 music educators that live local to me will be recruited to join a study to determine the efficacy and usefulness of different e-learning tools. I hope to keep a group of 10 to have as many results as I can. The teachers will all receive the same group of e-learning tools to investigate, use and report on. I will be used as their technical support if they need it. They will be free to use the tools as they want, so as not to limit their ideas and goals with the tools. They will have access to the tools for the sixteen week period allotted, and then they will complete a questionnaire that I will create for them. I will be asking about how they used the tools, their feelings towards the tools and how affective they were. I would also like to know if they plan to continue using any of them going forward.This plan outlines the logistics and details of the quantitative study. To begin I will contact the principals of the two schools that will be involved in the study. I will meet with the local principal face to face to describe the study as a whole, and what I will be doing with the students. I will contact the principal of the distance school and send them written material as well as schedule a Skype meeting to go over the details of the study. I will have a parental consent form for them to approve, and will work with them to distribute the form and ensure that a signed copy has been returned. I will enquire as to the ability to form my own random groups for the study, but if that is not possible I will work with existing classes. The students will be made into three groups, one at the distance school and two at the local school. The two at the local school will be the experimental and the control group, where the experimental group will be taught using the e-learning strategies and the control group will only be taught face to face. The distance school will have only one group, being the experimental group. The distance does not allow me to hold a face to face class at that school. The students will all be given a pre-test to gauge where they are at the beginning of the study. The same teacher will then teach all three groups. At the end of the term, a sixteen-week period, the students will be administered a post-test. Analysis of covariance will be used to calculate the difference between the pre-test and post-test for the individual student, and not have the findings based on the differences between the groups.
ParticipantsFor the quantitative study I will use three classrooms of students. I hope to have randomly assigned groups, but I may have to work within already existing classes. The qualitative study will use 10 teacher advisors. The teacher advisors will be used to test, evaluate and review different e-learning technologies.
Materials or Apparatus Standardized tests both for pretest and posttest of the students in the research groups. Teacher reports Both from the teachers evaluating and using e-learning tools, as well as the teacher teaching the three research classes. E-learning tools to be determined, based on availability and relevance to the music classroom. Online learning platform to teach music to one rural class and one local class, to be created with the teacher and myself.
Research Design and ProceduresWithin the three research classrooms the students will be randomly chosen, if approved by the principal. I will use two classes at a school that is local to me, and one that in a rural area and has no access to a music teacher. There isnt a possibility to have a rural class that is taught by a music teacher for this research. The study will follow a pretest posttest control group design. One rural class and one local class will be taught using the online learning platform, and one local class with be taught face-to-face. I will also use ANCOVA to ensure the results are not based on the prior knowledge of the students.The teachers reviewing e-learning tools will be given the same tools to work with in their regular classrooms. They will return reports that evaluate their experience and feelings towards the tools, as well as detailed plans of how they used them and what worked/what did not work for them.
Time ScheduleThis study will take place during one term of a regular school year, approximately 16 weeks. Final reporting will be available approximately 6 weeks after the end of the study.
BudgetNone, though this may make finding and using e-learning tools to share with teachers to evaluate difficult. If this is the case, I plan to apply to the principals of the schools where the teachers work for monetary assistance with adding those tools to the school repository.
Data Analysis:Both narrative and statistical data will be prepared.
Final Reporting:Final reporting will include narrative data, as well as statistical data, and will make recommendations as to which e-learning tools are beneficial to the music teacher and music classroom, as well as report findings with regards to the efficacy of learning music via online learning platform.
Limitations of the Study
There is a possibility of the pretest affecting the results of the study, but the length of the study should minimize the impact of the pretest. Also, there may be limitations to creating a random grouping of students to work with, in which case existing classes may need to be used.There is also a possibility of teachers having difficulties with the e-learning tools, and their computers. The teachers being able to use myself as a support to technical issues will hopefully minimize technological problems, but all issues cannot be foreseen.
References
Adileh, M. (2012) Teaching music as a university elective course through e-learning. Australian Journal of Music Education pp 71-79.
Beckstead, D. (2001) Will technology transform music education? Music Educators Journal 87(6)
Callahan, R., Harlos, S., Herring, M., & Kruse, N. (2013) Skype music lessons in the academy: Intersections of music education, applied music and technology. Journal of Music, Technology & Education. 6(1)
Cerda, J., Dannenberg, R.B., Garcia, W., Hernandez, C.A., Lloret, N., Murillo, A., . . . Serrano, J.E. (2013) New technologies for music education. E-Learning and E-Technologies in Education. pp149-154
Dioglo, B., Andango, E., Katuli, J. (2011) E-learning as a strategy for enhancing access to music education. International Journal of Business and Social Science. 2(11)
Klimai, E.V. (2010). Current tendencies in music education. Russian Education and Society. 52(6)
Shuler, S. (1992). Reaching at-risk students through music education. National Association of Secondary School Principals Bulletin. 76(30)
Shuler, S. (2012) Music education for life: Core music education: Students civil right. Music Educators Journal. 98(4)
