Classroom practice around the globe has changed considerably due to the global pandemic. Although ICT (information and communication technology) is at the heart of 21st century teaching and learning, many teachers and students had to make significant adjustments shifting from face-to-face to remote (online) delivery in response to lockdowns and government restrictions since March 2020. This paper focuses on one focal question: ‘What were some of the concerns using ICT during Covid-19 pandemic?’ which was part of a wider Australian study ‘Re-imaging the future: music teaching and learning, and ICT in blended environments in Australia’. The authors seek to understand how music teachers look to employ technology in ways that connect teaching frameworks to 21st century classroom practice. As part of the ongoing study, they present preliminary survey data gathered between March–June 2021 from a range of music teachers around the country. Using thematic analysis, they discuss advantages, disadvantages, opportunities, and challenges in relation to responses that thematically relate three key elements: pedagogy, social interaction, and technology. They identify concerns and call on music educators to reset what, how, and why they teach when using technology to develop 21st century competencies, as the future of schooling continues to change its landscape due to the pandemic.
This paper is based on the reflections and experiences from a participant researcher perspective and explores the creation of an inventory of core pedagogical components, called the adaptive teaching framework (ATF), for use in online teaching. This was developed as part of a graduate music teaching program (MTP) across more than 20 tertiary subjects. It involves a series of reflections, descriptions, discussion points, and suggestions, which specifically reference related learning theory, content review, modification of learning design, and pedagogy that were considered during the implementation of a new learner management system (LMS) platform (Canvas) at the start of 2020. Amid the initial phase of implementation, staff and students were also required to move suddenly into a fully online learning environment, as the COVID-19 pandemic took hold and the subsequent lockdown removed all face-to-face teaching, an essential part of the MTP that included music performance, classroom pedagogy, curriculum design, research, and ensemble performance, as examples of some of the wide-ranging subject areas. These two significant changes (LMS implementation and the COVID-19 pandemic) occurred concurrently, which heightened both the immediacy and demand for adaptive teaching design within a fully implemented online program. The paper overviews the development of the ATF, in response to these mandated changes, just three weeks into Semester One, 2020. The methodology employed was self-study and aspects of critical reflective practice, whereby the researcher reflected on the intersection of technology and 21st century learning in music education, drawing on established literature, research, and emerging learning models combined with creative pedagogies.
This article assesses the impact of new digital technologies on music education. It argues that music teachers have an obligation to understand and integrate the technologies that students bring into their classrooms. New digital technologies must be seen as instruments in their own right, and used to facilitate the development of knowledge and innovative approaches to exploring and understanding music among various emerging learning communities.
Faced with the state of emergency restrictions due to the global COVID-19 pandemic, the 2020 Teaching Music Online in Higher Education conference was adaptively modified to exist as a synchronous, online event. Embracing the opportunity to model online music pedagogy in its online format, organizers transformed the conference to utilize live-streaming, video recordings and other online active learning strategies. A total of 143 tertiary music instructors and graduate students from 66 institutions located around the world took part in the conference at a time of unprecedented restriction on face-to-face learning and travel restrictions. This report is both important and timely, as it provides insights into components that were found to be both necessary and fundamental to the success of the event for music researchers, teachers and other delegates in attendance. Key areas related to organization, communication, structure, protocols and activities were explored through learning analytics and a conference evaluation. Strategies and recommendations are included to assist others who wish to create and present an online conference that exemplifies online pedagogy principles.
Musicians work with, and around, various forms of technological media and resources. In today's professional environment, musicians face multifaceted work that may include teaching, performing, marketing, promoting, recording, or composing. The musician as entrepreneurial learner becomes a key focus for authenticity within their learning. Music educators, music professionals, and musicians of all ages need to navigate key career choices along their career paths which can be supported by authentic approaches to learning. This chapter explores how enterprise pedagogy and entrepreneurial pedagogy (i.e., authentic learning experiences) provide opportunities for students to reflect on, and prepare for, the likelihood of multiple jobs and roles in their upcoming career paths. Podcasting as an authentic learning tool is explored through the development of MusicWorks, a podcast series giving voice to the multiple career paths of industry and educational leaders in music.
The COVID-19 pandemic forced music teachers to modify their practice as delivery moved online in education settings around the globe. This article forms part of our wider study, Re-imaging the future: Music teaching and learning, and ICT in blended environments in Australia, that commenced in March 2021. In this article, the authors analyze and discuss Australian music teachers’ perceptions of confidence, preference, and usage of music technologies, combined with Information and Communication Technologies (ICT) while teaching during COVID-19. Employing a quantitative methodology from data collected using an anonymous survey ( N = 105), they report on teachers’ attitudinal responses about ICT devices, confidence, and technology usage. The findings outline descriptive and correlational analyses between ICT use and teachers’ integration of various devices, software, and related music technologies. The data show that teachers adapted their practice during this time of uncertainty, reporting increased confidence, application, and ICT usage. Data revealed an increase in the use of multiple technologies, resources, and software, which became an essential component of online teaching. The article concludes with recommendations for a longitudinal study of ICT usage in music education across Australia, accompanied by suggestions for increased professional learning, initial teacher training, changes in practice, and contingencies to sustain online learning into the future.
The recent COVID pandemic illustrated a shift in both the type and ways that a range of digital technologies and learning designs have been employed in online teaching across the tertiary context. Of relevance, were the use of blended approaches that integrated online delivery (virtual) while students also attended classes in person. This chapter investigates the affordances, opportunities, and challenges that arose while two academics utilised blended synchronous learning (BSL) within a graduate arts class in Semester One, 2022. Wang's (2008) generic ICT model and the core components of pedagogy, social interaction, and technology were used to observe, interpret, and understand how two lecturers employed digital technologies in their practice. Using a collaborative self-study methodology (Samaras, 2011), via an online collaboration and regular Zoom meetings, emergent themes related to the opportunities and challenges that existed are presented, with consideration given to future adaption of BLS delivery within the tertiary teaching environment.
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