The model of information system success has been used to evaluate students’ satisfaction with the system quality, information quality, and service quality of learning management systems. This study extends the model by considering the pedagogical dimensions of instructional quality, learning quality, and interaction quality as well as how perceived usage frequency influences students’ quality perceptions. Through a sample of 376 higher education students, this study validated a five-factor quality structure for the evaluation of learning management systems with respect to the perceptions of students of the arts. Regression analyses showed differences among the quality factors that predicted satisfaction for arts students perceiving infrequent, average frequency, and frequent use. Although the quality of instructional experiences predicted satisfaction for all student groups, information quality significantly predicted satisfaction for only infrequent and average frequency users. System quality was a significant predictor of satisfaction for only average frequency and frequent users, whereas only frequent users perceived the quality of learning outcomes to be a significant predictor of satisfaction. The theoretical, instructional, and institutional implications for higher education institutions are discussed.
The purpose of this study is to explore interstitial spaces in higher music education. Interstitial spaces are small-scale settings where individuals interact around common activities. Drawing from the learning experiences of three students, the disparate feelings that students have within the interstices are unpacked. Specifically, we lean on Michel Foucault’s notions of power and hierarchy as a way to explore the dynamics in the teaching and learning relationships between students, and how the power that institutional structures might wield could shape the pocket conversations taking place. In the context of higher music education, we explore the ways that such spaces offer special moments where students see themselves in new ways. We explore how Mezirow’s theory of transformative learning might latch on to the potential that these interstitial spaces offer. We argue that potentials for transformative learning encounters described by the three students seem to be situated within interstitial spaces. The article considers what it means to be in the peripheral locations of student learning and contributes to the need to revisit interstices as an important location to understand how knowledge and creative interactions can be made in higher music education.
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