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Dr. Kathryn S. Hoff

C&TE 679: Research in Career and Technology Education
October 10, 2007
Christopher Pappas

Review of the Literature

DISTANCE MUSIC EDUCATION

A. Overview
(Distance Music Education)

B. Historical Context
(Definition and Its Methods)

C. What it means in the world of education today

D. What is the role of the Music Teachers?

E. How effective is it for the students?

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Review of the Literature

Introduction

In 1840, Sir Isaac Pitman, the English inventor of shorthand, was the first man to have

the idea of delivering instruction to a limitless audience via mail (Phillips, 1998). In 1946, the

University of South Africa was the only university to offer correspondence education courses.

More than 20 years later another university, which has became the largest distance education

university, the Open University in United Kingdom was found.

In 1974 in Germany the Ferm University in Hager was the third university to offer distance

courses. Because of the success of these universities by the 1900s, the University of Chicago

established the first department of correspondence teaching (Matthews, 1999).

Music is probably the last subject one would contemplate teaching online. Face-to-face

instruction in music education has been the norm at all levels (Sherbon, 2005). Still, in the last

decades, with the help of technological advantages, more and more universities, schools, and

educational institutes have introduced distance music education.

Definition and Its Methods

Distance education comes in many forms and phrases such as “distance education,”

“distance learning,” “e-learning,” and “online education” can be confusing. The definition of

distance education encompasses teaching and learning, where learning occurs in a different place

from teaching (Steiner, 1995). According to Clark and Verduin (1989), distance education

separates the teacher and learner during a majority of each instructional process; uses educational

media to unite the teacher and learner and carry course content; and provides two-way

communication between the teacher, tutor or educational agency, and learner. Distance education

can include both synchronous (real-time) and asynchronous instruction (time delay). Examples
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of synchronous distance education methods include videoconferencing, Internet relay chats

(IRC), and interactive TV. Examples of asynchronous distance education methods include self-

paced courses taken via the Internet or CD-ROMs, emails, and online discussion groups.

What it means in the world of education today

The Internet has become a gateway for information, and as such, has allowed many

universities to offer distance music education courses and degrees. Moreover, more and more

teachers in elementary and in high school have introduced online music courses. For example, in

Sandpiper Elementary School in Broward Country, Florida, a music teacher called Ms. Jolene

Long introduced an online course (Knee, Ariza, & Long, 2002). The significant of this idea was

that this online course was introduced to elementary students because music instruction was

previously limited to one half-hour weekly. Thus, the students did not have the opportunity for

mastery of a musical instrument. Because more and more students expressed the desire to take

home instruments and have access to guided lessons, the web-based course was developed. A

solution to the above problem was the use of simple implements like a recorder and web-based

courses (Knee, et al., 2002, p. 1). Something that was impossible a few years ago now is

becoming a necessity.

Furthermore, the first large scale project to create Internet-based courses at the pre-

college level was the Virtual High School (VHS). It was a cooperative project that is funded in

part by a technology challenge grants from the U.S. Department of Education, with technical

support from the Concord Consortium, a nonprofit group in Concord, MA. One of the instructors

in a high school, David Jost introduced his students to music theory (Shaw, 1999, p. 1). In that

virtual class the unusual thing was that the students had never met each other. The instructor

inspired interaction among students (Shaw, 1999, p. 1). An advantage was that distance
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education allows students to progress at a personal speed and intensity, without having to wait

for slower pace of the average classroom. In Jost’s class each student was able to restudy any

difficult course material (Shaw, 1999, p. 2). Moreover, the principal of VHS, Bruce Droste,

claims that students feel more comfortable to express themselves in web-based courses (Shaw,

1999, p. 2). Also, the students improved their writing skills because so much attention was

placed on the written word.

In addition, VHS has provided students with opportunities that they would not ordinarily

have. Amy Taylor, a student from Texas, wanted to major in music at college, but her school did

not offer music courses. This student attended Jost’s class and she gained the necessary

knowledge that enabled her to perform in the Texas AllState Orchestra. From the above example,

we can understand that the quality of education had little to do with the geographical location

and more to do with using technology to connect people, and to bring new opportunities to

students everywhere (Shaw, 1999).

What is the role of the Music Teachers?

The evolution of technology has changed teaching methods. Many music educators find

it beneficial to review past challenges in order to understand present accomplishments (“Music

education in a digital world,” 2000). In the early 18th century, music teachers who would like to

teach or to give their students the opportunity to listen to a music piece would play an

instrument, probably the piano. Also, if the students wanted to see or listen to their favorites

performers or orchestras, they should attend live concerts. For many years this was the only

method.

It was not until the late 1960s that other opportunities manifested. Music educators began

to use vinyl records and magnetic audiotapes to illustrate class material. In 1982, music
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educators replaced vinyl records and magnetic audiotapes with compact discs (CDs). That

offered a better sound quality, and a systematic locating track that saved class time. Videotapes

were introduced in the 1970s, and they were replaced in the early 1990s by digital videodiscs

(DVDs) with high-resolution sound and images.

With the evolution of technology, music classrooms became concert halls. The students

were able to listen and watch performers and orchestras that used to be miles away. With the

visual tools, music teachers were able to provide historical biographies of composers (“Music

education in a digital world,” 2000). With the recording techniques, music students were able to

critique their own work. Technology was the basic tool of education in the hands of music

teachers.

Furthermore, in the late 1970s computer users and instructors became familiar with the

first music software such as Apple II, Commodore 64, and TRS-80 (“Music education in a

digital world,” 2000, p. 1). From the 1978 to the middle 1980s, the music software was so

numerous and their use amazingly increased. “These software included drill-and-practice

programs covering the full range of melodic, harmonic, and rhythmic skills, as well as programs

related to music listening, appreciation, history, and fundamentals” (“Music education in a

digital world,” 2000, p 2).

In the 1980s, musical instrument digital interface (MIDI) was introduced. MIDI became

an incredible teaching tool (Feldstein, 2001). According to Feldstein (2001) “with MIDI a

specific digital signal would be understood to mean the same thing no matter what instrument

was receiving it” (p. 3). Moreover, the computer companies developed software that gave the

opportunity to users with simply musical skills, not only to record but also to compose music.
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The music teachers did not need any more to play an instrument, but they should know how to

develop software, and also, how to teach with them.

The biggest revolution became in the early 1990s when the Internet brought a new host of

changes to schools. It became easy for the learning community to find resources about a specific

music topic (“Music education in a digital world,” 2000, p. 1). As the Internet became

ubiquitous, music teachers understood that they should explore all the possibilities for utilizing

this resource in order to help students learn. The use of Internet broadens educators’ and

students’ horizons. The new teaching and learning tools made the access in knowledge timeless

and global (Bauer & Daugherty, 2001, p. 5).

Moreover, numerous of teachers developed Web sites and Web sites communities as

well. With the contribution of Web sites, music teachers have two basic benefits, the first one is

the better communication and information dissemination, and the second one is the strong group

image (Marowitz, 2006). We can say that a Web site is a powerful communication tool that can

give us information from many different sources. Sources such as images, biographies, and of

course pieces of music that we are able to listen via the web sites. According to Marowitz

(2006), “Web sites provided a way for schools to share their music programs with the music

education world so that directors, staff, booster groups, and students from schools in every

location and country can learn from one another. The result enriches the school music

community at large. Since music is a ‘Universal language’, this may be the most beautiful and

productive benefit of all” (p. 3).

Moreover, in Web site communities, music teachers and students around the world are able to

exchanges ideas, to learn more about music, and of course to have access in the newest research.

According to Feldstein (2001) an example of a Web site community like that was the
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http://www.yamahaadvantage.com/. In a community like that, “the teachers were able to share

their ideas with other teachers and interact with the authors” (Feldstein, 2001, p 3). According to

Feldstein (2001) “the parents were able to learn about the newest methods and the importance of

music education for their children, and the children, students were able to download additional

fun songs to play or extra exercises that focus on specific technical or musical problems” (p. 3).

It is true to say that technological advantages have provided music educators with new ways of

teaching music.

The challenge for the music teachers is to feel comfortable using the new technologies.

One way is by self-instruction; some teachers feel comfortable to teach themselves. Some others

prefer outside assistance, so they attend in formal university courses. Indeed, many music

technology companies provide training to the teachers, as they want to inform them about the

new products. However, this is not enough. The music teachers should follow the technology

process constantly. According to Peter Webster (“Music education in a digital world,” 2000, p.

4), “learning music technology is like learning an instrument. It is not something you do once for

a week and then you put it down. You have to keep practicing a little bit each day”. A good way

in which music teachers could keep themselves informed are the Internet chat groups, the web

based communities, the national conferences, etc. According to Feldstein (2001)

“Students will continue to embrace those changes that offer them the greatest opportunities for

music performance and learning. As educators, we must stay abreast of technology and embrace

it as another tool that can help make our teaching as effective as possible”(p. 4).

In addition to the above, we can say that distance music education requires a significant

investment of the time of music teachers. Music teachers should spend a lot of time to keep a

course site updated, to respond to emails, to teach and evaluate the courses.
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It is obvious that distance music education is more like teaching students privately than

teaching all the students at once, and of course this would demand a lot of time. One more

difference that distance music teachers have to face is the system of grades. In a distance course

a music teacher should interact with students from many different educational systems. That

means that some of the students that used to receive A in theirs schools may receive a C in the

distance course. As a result teachers should choose a fair grading system based on set

expectations or comparisons among students in the same course (Shaw, 1999, p. 2).

On the other hand, we should remember that we use technological advantages in order to

help students learn how to learn by creating and performing music (“Music education in a digital

world,” 2000, p. 4-5). With the help of technology, future education will be basis on the

interaction between learners. Technology is used and will be used to assist students and teachers;

the music teachers are leaders that guide students to understand music (“Music education in a

digital world,” 2000, p. 5).

How effective is it for the students?

The first thing that we should consider about effectiveness of distance education is the

necessary equipment and, of course, the on-site support. All the students that choose to

participate in a distance education course should have the necessary equipment such as high-

speed Internet connections, modern computers, and most importantly technical assistance. In the

traditional classrooms when the students notice problems they just raise their hands and the

teacher help them. In the beginning of a distance course, some students will probably need

special assistance. It is in the hands of the teachers how fast, and how effective they will help

these students. For example, in Sandpiper Elementary School in Broward County, Florida, the

music teacher Ms. Long let the students play their instruments at their homes and they used the
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computers only during class time (Knee, et al., 2002). With that method Ms. Long was able to

observe problems and helps the students. According to Knee, et al., (2002) “ after practicing

using the computer two or three times with the assistance of the teacher, students eventually

needed assistance only when they lost an Internet connection or had a major problem such as the

chat room freezing” (p. 2). The most significant result was that the students encouraged helping

each other and solving their problems together. The elementary student who had never

participated in a distance course before would quickly overcome the difficulties. The entire class

felt comfortable with the course materials and as a result each student succeed in learning the

course materials (Knee, et al., 2002, p. 2). The benefits, however, do not always guarantee

success for every student. According to Knee, et al., (2002) “one boy returned to the traditional

class after two unsuccessful attempts at the online course. He did not like working on the

computer because it required more reading, writing, and self-directed learning than traditional

classroom instruction. However his position was immediately filled as his classmates eagerly

sought to replace him in the study” (p. 2).

General speaking we can say, that distance music education is effective when the distance

music education courses or programs begin with careful planning and a focused understanding of

course requirements and students’ needs. Appropriate technology can only be selected once these

elements are understood in detail. For example, Amy Taylor from Texas attended to the distance

music theory course of David Jost’s music class. Her school did not offer any music courses.

With the knowledge that she gained from the distance music theory courses she was able to

perform in the Texas AllState Orchestra (Shaw, 1999).

As we mentioned above, in distance education students feel that they are being taught in

private. Because of all that individual attention, students seem to know their online teachers
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better than the traditional classroom teachers (Shaw, 1999, p. 2). Furthermore, the distance

courses are based on written skills; the students are more focused when they write. Writing

skills are particularly important in distance education courses because student have to not only

correctly express their ideas but also their questions (Shaw, 1999, p. 2).

Moreover, a lot of distance courses provide on-line class discussions and Internet-based

assignments. For example, the Ball State University and the University of Kansas collaborated

in learning projects via Internet-based technologies (Bauer & Daugherty, 2001). According to

Bauer and Daugherty (2001) “The goal of the collaboration was to provide students that had

enrolled in graduate classes in the history and philosophy of music education, with additional

experiences and insights not typically afforded by the traditional graduate music education

classroom. The utilization of technology in a manner based on contemporary theories of learning

was seen as a primary way to achieve this goal” (p. 2).

The students felt that participating in the on-line class discussions allowed them to learn

from their classmates, even though these classmates were from different universities.

Furthermore, the Internet-based assignments helped them to better understand the content of the

course. We can say that the interaction between them was very effective (Bauer & Daugherty,

2001). On the other hand, some of the students voiced no complains about impersonal online

instruction nor the time spend on computer to complete the task (Bauer and Daugherty, 2001)

The most significant part of the article is that overall students indicated that they would

not like to take a course that was conducted entirely over the Internet. The use of Internet can be

effective as an additional tool to complement learning in the traditional classrooms (Bauer and

Daugherty, 2001, p. 5)
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In addition to the above it seems that the students who are not self-starters seem to have a

great deal of difficulties in the distance courses. For those students, distance courses seem to be

not as effective (Shaw, 1999). Furthermore, a lot of students feel more comfortable to express

themselves face-to-face. Also, some others have the speaking skills but not the writing skills, and

for these students distance learning is not as effective.

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References

Bauer, I. W., & Daugherty, J. F. (2001). Using the Internet to enhance music teacher education.

Journal of Music Teacher Education, 11, 1, 27-32.

Curran, C. (1997). ODL and traditional universities: dichotomy or convergence? European

Journal of Education, 32, 4, 335-346.

Clark, T., & Verduin, J. (1989). Distance education: Its effectiveness and potential use in lifelong

learning. Lifelong Learning, 12, 4, 24-27.

(2001). Distance education: On-line music education. Teaching Music, 9, 1, 59-61.

(2005). Distance education for music educators. Teaching Music, 12, 5, 87, from The Directory

of Online Degree Programs, Courses, and Training Web site:

http://www.worldwidelearn.com

Feldstein, S. (2001). Music education and technology, past, present, and future. Teaching Music;

9, 3, 26-30.

Kahler II, P. E. (2003). Maintaining the integrity of a web-based music course. THE Journal, J

31 no 1, from the Technological Horizons in Education Web site:

http://www.thejournal.com

Knee, R., Ariza, E. N., & Long J. (2002) The sound of music—from a distance using WebCT to

teach an online music course. Learning and Leading with Technology 29, 6, 22-27.

Matthews, D. (1999). The origins of distance education and its use in the United States. Carlow

College, Pittsburgh, Pa, THE Journal, J 31 no 1, from the Technological Horizons in

Education Web site: http://www.thejournal.com /articles/14278

Marowitz, D. R. (2006). Why your music program needs a web site. Teaching Music, 14, 2, 54-

57.
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(2000). Music education in a digital world. Teaching Music, 8, 1, 24-31.

Phillips, V. (1998). Virtual classrooms, real education. Nation's Business, 86, 5, 41-44.

Shaw, D. (1999). Classrooms without walls. Curriculum Administrator, 35, 2, 40-43.

Sherbon, J. W., & Kish D. (2005). Distance learning and the music teacher. Music Educators

Journal, 92, 2, 36-41.

Steiner, V. (1995). What is distance education? Retrieved February 10, 2002 from the

http://www.dlrn.org/library/dl/whatis.html.