Dr Alan Anderson, School of Arts and Social Sciences, School of Commerce and Mangement, Southern Cross University, Lismore, NSW. Email: alan.anderson@scu.edu.au
Dr Jon Fitzgerald, Assoc Prof, School of Arts and Social Sciences, Southern Cross University, Lismore, NSW.Email: jon.fitzgerald@scu.edu.au
A pilot contemporary music program was designed to test the efficacy of an innovative, blended technologies approach to distance learning. The study used materials (text, video, music notation files) available through a Web-based learning management system (Blackboard) and an Integrated Services Digital Network (ISDN) room-based videoconferencing system, to teach a music keyboard styles module within a unit entitled Practical Studies II. The study formed part of a project funded by a university Teaching and Learning Seeding Grant' for research into innovative teaching and learning programs. Recommendations for practice are made in the light of feedback from students, teachers, and technicians involved in the project.
A pilot contemporary music program named 'functional keyboard' was designed to test the efficacy of an innovative distance learning, blended technologies approach to distance learning. The study used materials (text, video, music notation files) available through a Web-based learning management system (Blackboard) and an Integrated Services Digital Network (ISDN) room-based videoconferencing system, to teach a keyboard (music styles) module within a Southern Cross University Bachelor of Contemporary Music unit entitled Practical Studies II. The unit integrates popular music theory and practice with a particular focus on functional keyboard skills, contemporary rhythm, and basic improvisation skills. The distance learning, blended technologies program builds directly upon Anderson's (2004) doctoral work, but in place of desktop videoconference-mediated music lessons (used in Anderson's doctoral project), the present study incorporated room-based ISDN videoconference-mediated lessons.
Although multimedia learning-objects such as movie files can be used to provide the student with replayable images and sound of their teacher demonstrating various specialized techniques, the teacher ideally needs to see and hear the student performing (at least periodically) in order to provide useful feedback. This can be achieved to some extent by desktop videoconferencing (i.e. Web-cam equipped personal computers over the Internet) as evidenced in Anderson (2003) [HREF 1]; 2004; 2005 [HREF 2]). However, the present consensus among information technology and educational technology professionals is that it will still be some years before domestic consumer-level desktop videoconferencing systems (i.e. using Web-cams on personal computers) can match the performance of existing room-based ISDN videoconferencing systems [HREF 3] such as the Tanberg [HREF 4] system used in the present study. Essentially, the ISDN system is capable of producing a larger and more consistently fluid and clear image and sound than a personal-computer-based desktop videoconferencing system [HREF 5]. 'Functional keyboard' lessons were therefore taught via a room-based videoconference system, while a proprietary online course environment, Blackboard [HREF 6], was used for the delivery of video files, MIDI files [HREF 7], audio files [HREF 8] and to host asynchronous discussion forums.
While some universities in Australia and overseas have been involved in the teaching of music by videoconference [HREF 9]; [HREF 10]; [HREF 11], the application of a 'blended technologies' approach to practical musical instruction is still in its early stages (Ruppio, 2003) [HREF 12]. Practitioner-informed research literature on the subject is correspondingly scarce, therefore the functional keyboard program was developed to examine the practicalities of using room-based videoconference technology to supplement asynchronous teaching and learning in the Web-based environment.
The study formed part of a project funded by a university Teaching and Learning Seeding Grant for research into innovative teaching and learning. Shortly after the grant was approved in October (2004) a key member of the original three-member research team accepted a position at an overseas university. While this offered some obvious advantages in terms of testing distance material, it became necessary to reschedule activities and delegate aspects of the overseas team member's role to others. An application to extend the timeline was subsequently approved and the main teaching and learning phase of the project was completed in October 2006.
The possibility of technical glitches that might delay or compromise student learning in some way was taken into account. Consequently, the fully online component of the course was held over a six-week block in the semester rather than the entire semester, and the participants comprised a small group of internal (on-campus) students rather than international students located overseas. To provide the students and their teacher with an entirely online study experience, however, students were not given any face-to-face tuition during the six-week block. During videoconference lessons students were located in the main videoconference meeting room while their teacher was located in a separate lecture theatre (Figure 1).
Fig. 1 Videoconference lesson in progress. Student in the foreground and a projected image on the wall of the teacher at the remote site lecture theatre
Students were told that additional remedial lessons taught in the usual face-to-face mode would be available if necessary in the final week of semester. This was to allow any student who might have felt their learning was compromised by the research to catch up on anything missed. Students were also reminded that as volunteer participants in the research it is their right to withdraw from the study at any time without prejudice.
At Lismore and other SCU campuses, the ISDN videoconference systems are located in rooms optimised for meetings, seminar presentations or tutorials. Consequently, the furniture, cameras, and displays are all positioned to provide optimum camera and microphone coverage of what is essentially a boardroom table layout. Whilst ideal for the aforementioned applications, such a layout makes it difficult to quickly set up for one-on-one or small group teaching of musical instruments by videoconference. Participants and technical support staff involved in the present study improvised where possible but ended up sitting one keyboard butted up to the end of a row of desks (cramped and at a less than ideal angle) while displays were positioned to the left (fig. 1). This proved adequate as a short-term solution but over time could result in students and teachers getting sore eyes, sore neck muscles and so on as a result of turning to watch displays positioned too far off to the side.
Besides helping the musician to produce optimum sound from the instrument, good posture and technique can help to reduce the risk of repetitive strain injury (Brandfonbener, 1995; Brodsky, 1995; Newman, 1994) [HREF 13]. Paradoxically, a videoconference provides an ideal way for teachers to view and check the posture of their distance students, yet this opportunity can be lost if unsuitable furnishings and layout inhibits free movement, optimum line of sight or posture.
Other equipment issues identified in Anderson's (2004) study of desktop videoconference systems, proved equally problematic in the present study. In spite of the larger scale equipment and visual displays of the room-based videoconference system, the need to change camera angles and microphone placement on the fly presented some challenges. Supplementing audio equipment provided in the videoconference room with additional microphone stands and microphones from the music department helped. However, the need to adjust camera angles and microphone placement quickly on the fly remained problematic. In previous studies, Anderson's solution was to adapt microphone boom stands and various swivel-joint clamps and extensions to hold small Web Cams. The teacher or student could simply take hold of the gooseneck extension [HREF 14] and position the camera precisely at close-range to display specialist techniques on a range of different shapes and sizes of instrument. The camera and microphone components of the fixed-installation, room-based system did not allow such a high degree of flexibility.
Signal latency, inherent in videoconference systems [HREF 15] made it impractical for both teacher and student to play simultaneously in sync. Nonetheless, students considered the system adequate for their teacher to watch them play 'live' and then provide immediate, remedial feedback.
Student 1: When you're playing the teacher can actually stop you at that bar
Students used electronic piano keyboards for convenience, however several expressed some concern about whether the videoconference system could provide a faithful representation of the dynamic range and timbre (tonal colour) of instruments such as a grand piano.
Student 3: I think if you had the videoconference you play a piece and he [the teacher] gets it after the computer analyses it and sound quality might be a problem. Say if you were doing something on a grand piano your dynamic technical potential might not actually be picked up enough on the equipment.
This student's concern was probably grounded in a basic awareness of how video or signal can lose some of its integrity when compressed and transmitted over a network. It is worth noting that students in the contemporary music program typically complete an introduction to music technology unit in which they learn about musical instruments and their frequencies. They also learn about various media and compression formats and how a lossy mp3 file, for instance, is made smaller in file size by 'losing' or discarding frequencies deemed non-essential or beyond the average human's range of hearing [HREF 16]. This in turn has the potential to affect the tonal colour or timbre [HREF 17] and dynamic range of an instrument [HREF 18]. Of course, another matter in regard to using a grand piano would be that the videoconference system would be better brought to the piano. Moving a grand piano to a videoconference room such as used in the present study would be time-consuming and could result in damage to the instrument due to changes in temperature and humidity [HREF 19], and it would almost certainly need to be re-tuned by a registered, professional piano tuner.
In follow-up discussions online, one student made a point of questioning the underlying motive for the pilot program in an online discussion thread:
Are they planning for this [online unit] to become a substitute for normal face-to-face?
Although the purpose of the research was announced online at the beginning of the program, it is understandable that students might question the motives of such research. The following response was posted:
The research and development of this online unit is more about testing various technology-supported ways to enhance learning for on-campus and off-campus or external students. We will wait until we compare feedback from students participating in the present trial with the results of previous studies before jumping to conclusions. However, one example of how this mode of learning might be applied in future is for overseas students to do a bridging course or even a small portion of a degree by a mixture of on-campus residential and off-campus online and videoconference-mediated learning. This could be equally beneficial to students isolated by distance, say in outback Australia, or simply a more flexible way of studying for people with work or family commitments that prevent them from enrolling in full-time on-campus study. All food for thought at this stage but in the meantime your feedback is invaluable so please continue to share your thoughts on this' (overseas research team member).
On completion of the program, students were surveyed by questionnaire. First, they were asked to consider the usual breakdown of on-campus contact hours they would normally spend with their on-campus lecturer versus independent study time and other activities. Next they were asked to write down what percentage of time they would prefer to have allocated to the following activities if they were studying fully online.
| ACTIVITY (Fully online scenario) |
Student 1 |
Student 2 |
Student 3 |
Student 4 |
Student 5 |
Student 6 |
Student 7 |
| Videoconferencing one-on-one with teacher |
40% |
30% |
30% |
30% |
15% |
30% |
N/A |
| Videoconferencing in small group with teacher |
25% |
20% |
10% |
10% |
5% |
20% |
N/A |
| Self-directed study using instructional video files & transcriptions |
20% |
30% |
40% |
40% |
70% |
40% |
N/A |
| Discussion board interaction with your teacher |
10% |
10% |
10% |
15% |
5% |
5% |
N/A |
| Discussion board with fellow students |
5% |
10% |
10% |
5% |
5% |
5% |
N/A |
Figure 2. Scores for solely online scenario
Finally, students were asked what they would consider ideal for on-campus students using the online resources to supplement learning in lectures and tutorials?
| ACTIVITY On-campus scenario |
Student 1 |
Student 2 |
Student 3 |
Student 4 |
Student 5 |
Student 6 |
Student 7 |
| Face to face one-on-one with teacher |
40% |
30% |
30% |
30% |
5% |
30% |
N/A |
| Face-to-face small group tuition |
25% |
30% |
10% |
10% |
5% |
0% |
N/A |
| Self-directed study using the instructional video files and transcriptions |
20% |
30% |
40% |
40% |
80% |
40% |
N/A |
| Discussion board interaction with teacher |
10% |
5% |
10% |
10% |
5% |
5% |
N/A |
| Discussion board with fellow students |
5% |
5% |
10% |
10% |
5% |
5% |
N/A |
Figure 3. Scores for on-campus scenario using online to supplement regular face-to-face learning
The small number of participants clearly limits the study in terms of drawing generaliseable conclusions. However, it is clear that students valued self-directed study using the instructional video files and transcriptions, and consider that this type of distance learning can form a useful component of the educational 'mix' (for both on-campus and on-line students). Students' assessments of the ideal percentage of time devoted to this type of activity range from a low of 20% to a high of 80% (with 40% as the median response). It is also interesting to note that 'ideal' percentages of time spent on one-to-one lessons with the teacher bear little relationship to students' normal weekly contact in the Bachelor of Contemporary Music at Southern Cross University. The weekly half-hour lesson actually represents 5% of the (minimum of) 10 hours per week students are expected to spend on their instrument, but they clearly see this component as having value far in excess of the mere time spent in one-on-one lessons. It is also interesting to note that students rate one-on-one videoconference lessons in online mode in a virtually identical manner to face-to-face one-on-one lessons in on-campus mode.
Students assembled for a post-program group interview and discussion with a lecturer who was not directly involved in the online teaching. Although there was no such plan to replace regular face-to-face teaching, the lecturer asked students for their reactions to having this blended technologies approach to teaching and learning in the curriculum as a substitute for normal face-to-face teaching. Responses were as follows:
Student 1: I don't think it's a good idea to replace face to face lessons I think (turns to student 2)
Student 2: Yes, pretty much it's good to work off as a second thing a guy who is already practicing at home, having it out there but you need face to face With face-to-face teaching in a half hour lesson you get a lot more. You get that person, that's next to you who has to show you rather than on a screen it's like a more concentrated lesson face to face you get it a lot quicker.
Clearly these students would not choose fully online teaching (even supplemented by ISDN videoconference lessons) over and above regular face-to-face, however, they were quick to point out how useful the QuickTime [HREF 20] movie files of lessons and demonstrations of specialized technique was to download and replay in their own time.
Student 1: You pay a lot more attention to detail on the [QuickTime] video file
Up close wind it back look at it
Lecturer/interviewer: So I think the general consensus was that this [Blackboard plus ISDN videoconference lessons] is very useful as a substitute for normal face-to-face teaching rather than a substitution. Probably a very effective teaching tool; have you anything more to say about that?
(Students slow to respond to question so lecturer expresses own thoughts while giving students more time to consider)
Lecturer/interviewer: I thought this would be good though because half an hour lesson is short, doesn't give enough time get a lot of content? Probably a very good substituteto take home, be able to watch then play it over. If it's too hard to catch some things in your half-hour lesson time.
Moving on to questions about the percentage breakdown of activities in an ideal on-campus versus distance/fully online scenario, students explained why they had allocated certain percentages to the various activities. For instance, in relation to time using videoconferencing as a means to gain immediate feedback versus using online discussion boards:
Student 3: I said 30%. Probably because you get to ask questions with your voice, actually communicating; talking rather than typing you get more out of it.
It's important!
Lecturer/interviewer: So this is where you're actually getting taught piano via the videoconference?
Student 3: Yes
Lecturer/interviewer: So it's physical rather than
Student 3: I'll continue that. You get opportunities to express your own specific problems and needs sometimes that can get passed in the discussion board sometime in tutorials [too]. Not everyone has the same sort of problem you need that amount of time to develop individually. And it's easier to speak sometimes than to write it.
One student rated self-directed study options very highly in figure 2. His comments during the group interview helped to shed light on his reason for ranking student-lecturer interaction time much lower than other students.
Student 5: We already have video clips [online] fairly well laid out telling us what he [the teacher] wants us to be doing. Just to be able to go over it quickly now and then not spend heaps of time with the lecturer try to figure it out myself and then it will get better into my head if I figure it our myself.
The comment "not spend heaps of time with the lecturer" could be interpreted as an indicator of performance anxiety or avoidance. On the other hand, statements such as try to figure it out myself and then it will get better into my head' suggest a certain self-awareness of personal learning style and a desire to enjoy more productive lessons through better preparedness on his part.
Various learning styles and preferences will usually be evident among any sample of students. Significantly, the students in the present study could see how their various preferences can be accommodated using the blend of synchronous and asynchronous technologies tested in the present study. Videoconference technology was seen as a workable substitute for face-to-face tuition, especially for distance students. Video learning objects used in conjunction with the Blackboard site were considered very useful to enhance self-directed learning for on-campus and off-campus students.
None of the students reported that they felt unduly compromised by being taught entirely online for a six-week portion of the semester. However, their keyboard teacher reported that the fully online component of the program had an extra-curricula feeling to it.' He put this down, in part, to his own poor decision to timetable it so late in the semester, when the students were stricken with prac exam prep. The combination of these resulted in a less than optimum application to the task.
From the Centre for Contemporary Music's perspective, the project has resulted in a music program that incorporates an innovative blend of teaching and learning technologies for the delivery of material to individuals. Through exposure to these technologies, individual music teachers at the university were challenged to develop a range of useful new resources plus technical and pedagogical skills that may help to improve the efficiency, effectiveness and reach of their delivery. It is anticipated that video-enhanced online units may help teachers facilitate learning among greater numbers of students in a variety of locations. Furthermore, developing in-house expertise and infrastructure may help to pave the way towards further technology-assisted teaching and learning partnerships with other institutions in Australia and overseas.
Proprietary Web-based course environments have become sophisticated and widely used tools for asynchronous and - to a lesser degree - synchronous communication (Chat, VoIP, desktop videoconferencing). In music education, this take-up has been greatly assisted by advances in digital video streaming technology and broadband infrastructure. In contrast, however, many institutions have high quality room-based videoconference systems sitting relatively under-utilised for the purpose of teaching subjects such as music performance that need to be taught by physical demonstration. While technical issues such as latency do affect the usability of videoconference systems, sufficient numbers of early adopters have pressed on with using videoconferencing for teaching music.
One inhibitor to uptake in wider music education circles may be that room-based videoconference systems are commonly housed in a venue resembling a boardroom rather than an inviting space that can be quickly adapted to applied music teaching and learning applications. 'Roll-about' portable systems could be used instead, however, the size and fragile nature of the equipment means it is not always practical or time-efficient to move these systems frequently across campus or between music studios. Ideally, in order for music departments to effectively exploit the flexible delivery opportunities that Web and videoconference technology can provide, venues need to be made flexible in terms of design, layout and range of equipment available to accommodate music educators and their students. This need not involve a large investment of funds. The present study showed that even in a less than ideal layout and some vision and audio sync issues to contend with, "the live videoconference was good once you got used to it ... in fact, it was fine," as one student put it.
Anderson, A. & Ellis, A. 2005, Desktop video-assisted music teaching and learning: new opportunities for design and delivery, Colloquium, British Journal of Educational Technology, 36 (5) 915–917. http://www.blackwell-synergy.com/doi/abs/10.1111/j.1467-8535.2005.00496.x?journalCode=bjet
Anderson, A. J. 2004. Developing Instructional Strategies for Desktop Video Assisted Music Teaching and Learning, Unpublished PhD thesis, Southern Cross University.
Anderson, A. & Ellis, A. 2003, An Action Research and Learning Approach to the Implementation of Web-supported Music Instruction, in M.Astorio, A. Ellis, & R. Hall (eds) Proceedings of NAWeb03, Ninth International North American Web-based Learning Conference, pp112, University of New Brunswick, Fredericton.
Brandfonbener, A.G. 1995, Medical problems of Non classical musicians. Medical Problems of Performing Artists, vol. 10, no. 1, pp. 1-2.
Brodsky, M. 1995, Blues Musicians access to health care, Medical Problems of Performing Artists, vol. 10, no. 1, pp. 18-23.
Newman, L. 1994, Fine Tuning your body, Introduction to the Alexander Technique, Australian Music Teacher, vol. 3, no. 5, pp. 366-369.
Alan
Anderson and Jon Fitzgerald, © 2007. The authors assign to Southern Cross University
and other educational and non-profit institutions a non-exclusive licence to
use this document for personal use and in courses of instruction provided that
the article is used in full and this copyright statement is reproduced. The
authors also grant a non-exclusive licence to Southern Cross University to publish
this document in full on the World Wide Web and on CD-ROM and in printed form
with the conference papers and for the document to be published on mirrors on
the World Wide Web.