2001 NACTMUS Conference
Byron Bay: June 30- July 2, 2001
Creating Musical Futures:
Challenges to Music Education in the 21st Century
Abstracts of papers
Byron Bay: June 30- July 2, 2001
Creating Musical Futures:
Challenges to Music Education in the 21st Century
Musical Development at a Distance
by Laurence Lepherd and Phillip Gearing, Department of Music,
Introduction
The University of Southern Queensland has been offering music instruction by distance education for over four years and has some 100 teachers who have completed their entire course as external students. The graduates come from all Australian States, and from New Zealand and Singapore.
The courses are principally related to instrumental and vocal teaching. They were developed because it was recognised that there were many studio music teachers in both city and regional areas who, for a variety of reasons, were unable to access study programs that would help them to obtain, or to upgrade, teaching qualifications.
Specific areas covered through this mode are:
Music instrumental and vocal teaching pedagogy (piano, violin, viola, cello and singing);
Aural development;
Music writing techniques;
Music history.
Teaching/Learning strategies include the use of
Assessment strategies include:
Pedagogical foundation of the concept of music education at a distance
It has been a belief at USQ for many years that pedagogically, it is possible to assist student learning in many disciplines without requiring them to attend on-campus. While it is not always possible for all aspects of music to be taught effectively through distance mode, it is our fundamental belief that it is possible to assist in most instruction. It is a matter of finding the most appropriate strategies. Modern technological advances provide this.
USQ has been teaching language at a distance for over 20 years. It is now assisting in the training of nurses in midwifery using CD ROM. In general, results of assessment of music students studying in two different modes (or a mixture of both) have indicated that there is little difference between them. (See Table 1) In many cases the development of younger students through on-campus social and teaching interaction is matched by the dedication and prior experience of oft-times more isolated, mature age external students.
Day mode External Mode
HD 10.6% HD 11.8%
A 36.4% A 31.2%
B 24.2% B 28.9%
C 18.2% C 21.1%
F 10.6% F 6.2%
n =66 n = 76
Table 1: Results in Music Craft Units (3 semesters) 1999/2000 &endash; day and external modes.
The model adopted by USQ involves directed study and presumes a student's self-motivation. It encourages personal interaction between staff and students, and between students, through telephone discussions, internet discussion groups and video conferencing, internet email correspondence and voluntary residential schools. Of these, all but the discussions groups and videoconferencing work effectively. The problems associated with these are listed below.
USQ has a policy (which is strictly followed) of prompt communication with students when inquiries are made, and in the return and marking of assignments.
In music courses offered externally, as much music making as possible is encouraged. Not all of this is assessed but self-review is encouraged. Most of this involves singing (in aural training) and playing of examples (where students have a minimum of keyboard skills.
Advanced practical performance is available through distance study on a restricted basis. Only students who are able to come to USQ on some occasions during semester are accepted for enrolment. In some instances local, well-qualified mentors are appointed to tutor students in their locality.
A demonstrated high standard of practical achievement (a minimum of 7th grade practical at credit level) is a pre-requisite to all external courses. A minimum basic level of theory/musicianship (5th grade with credit) is also required. This means that students enter the courses with a recognised level of 'musicality'.
The main reason that advanced practical performance is not included in distance mode is that video conferencing is not yet at the stage where it has effective audio and video capabilities, or, if it has, it is expensive. Even when this becomes available (the technology has almost been developed) the need for touch to be associated with practical teaching will still be missing (until 'virtual touch' is developed!).
USQ music staff are adamant that the award of a grade must be made through a verifiable assessment strategy, hence the involvement of a large proportion of assessment through video assignments or examinations.
Student perceptions of study via distance education
External students have been surveyed and have embraced the teaching and learning strategies enthusiastically. Table 2 summarises the results of surveys taken of external students in 1998-9.
ATMusA Program 1998(Piano Pedagogy)
a) Average response on instructional materials relating to their usefulness.
(Scale 1 - 5 where 1 is "Excellent" and 5 is "Poor".)
- introductory books &endash; 1.5
- study guides &endash; 1.5
- books of readings &endash; 1.4
(n = 24; 58% response.)
b) Response to the statement: The Program as a whole, in relation to the Syllabus was ...
(Scale 1 - 5 where 1 is "Effective" and 5 is "Not Effective".)
Response - 1.5. (n = 24; 58% response.)
Special Music Study 2(Music Pedagogy)
Response to the question: All things considered, how would you rate your overall satisfaction with the unit. (Scale 7 to 1 where 7 is "Excellent" and 1 is "Very Poor".)
Average response: 6.0 (n = 15; 53% response.)
Music Craft 2 (Aural Development and Music Writing Techniques)
Response to the question: All things considered, how would you rate your overall satisfaction with the unit. (Scale 7 to 1 where 7 is "Excellent" and 1 is "Very Poor".)
Average response: 6.2 (n = 15; 60% response.)
Table 2: Student perceptions relating to music units studied by distance education
Problems and their resolution
1 Developing learning strategies that enable the same content and assessment as internal students.
A fundamental principle at USQ is that, in general, a subject is set as an integral component in a course and should remain constant no matter in what mode it is delivered. Hence, music courses have mostly been developed as having the required elements to enable the 'creation' at least of a competent professional on graduation. If it is to be offered in external mode, strategies need to be adopted that will enable the desired student outcomes to be met. This was overcome, in the case of music pedagogy, through the supply to students of videotapes of demonstration lessons and through students' submission of videos of their teaching for assessment. It also led to the development of CD ROM (aural training) that provides semi &endash;interaction between the CD ROM and the student. This applies specifically to singing where a considerable proportion of exercises require singing to be done while the CD is playing.
2 Student familiarity with technological issues
Many of the students in external mode are mature-aged females carrying out their own studio teaching practice. Many of these initially have considerable difficulties with the technological issues of operating a computer. The USQ Distance Education Centre has an infrastructure set up to respond to inquiries relating to this. Such inquiries come from only a small percentage of students, usually only at the beginning of their course. Those attending the residential school are given instruction in at least the basics of using the CD ROM. Many other students seek the assistance of family members, particularly their children!
This relative lack of confidence in 'things technological' may contribute to the lack of involvement in internet discussion groups and also in internet video conferencing using NetMeeting.
The quality of student video recordings is quite reasonable on the whole.
3 Flexibility in dealing with students in different circumstances.
Students in the external mode tend to have different sets of problems from internal students and considerable flexibility is allowed with regard to assignment submission dates. In some instances, students may also be granted flexibility with regard to the period they sit examinations. The use of direct email access of students to staff also assists in facilitating communication and flexibility.
Conceptual Foundations of Aural Development
Principles
The Department of Music at USQ is committed to the formal involvement of students in aural development. This commitment to classes and exercises over six semesters (in a six semester degree) is designed to complement the work undertaken by staff practical teachers as an integral part of their instrumental or vocal lessons. (Students enrolled in the Certificate course undertake aural development over two semesters, and those in the Diploma over four.)
The content indicated below comprises what is believed to be the essential ingredients of a sequenced program that enhances and focuses the aural acuity of students. It is based on a reasonable assumption that there should be a carry-over from the formal, focused program to the musical aspects of practical performance and listening to musical repertoire.
When it was proposed that aural perception should be offered for external students, it was determined that the work would match as closely as possible that which the internal students covered in face-to-face classes. Underlining all internal activities is an emphasis on singing in a variety of guises and contexts. Singing internalises much of what happens, and creates a place for transfer to inner hearing.
This created immediate problems that required solutions. These were met by the inclusion of the same singing exercises in Semester 1 for both internal and external students. It is difficult to monitor the progress of the external student in this instance, but feedback suggests that it has been useful. The major way to include singing in all six semesters has been through canons, the study of which is also undertaken by the internal students.
A conscious effort has been made to achieve balance and equity in the tuition received by internal and external students. Whereas the internal students receive more face-to-face tuition, the external students receive more exercises. Notes provided in the Introductory Books are similar to information that internal students receive in class. Internal students have always been expected to complete homework and to practice aural skills between classes, but it has been decided that internal students should purchase the external package so that they will be able to complete the exercises on the CD-ROM between classes to enable them to structure their private study time.
Course elements
The course covers six semesters. A number of areas is covered by the work, each treated in a largely sequential manner.
Rhythmic work: In Semester 1 all rhythms are in 4/4, beginning with simple rhythmic elements (crotchet, two quavers, crotchet rest). New rhythmic elements are added weekly throughout the semester. The aim is for students to develop a stronger sense of pulse, and exercises are designed so that the crotchet pulse is the basic unit. In Semester 2 the principal aim is to develop the rhythmic memory and a feel for rhythmic phrasing. Semester 3 introduces compound time signatures, using _ as a link to 3/8, again commencing with simpler rhythmic figures and adding new figures weekly throughout the semester. As the semester progresses, 6/8, 9/8 and 12/8 are added to the repertoire. Semester 4 deals principally with 6/4 but also involves revision of other simple and compound meters. Semester 5 introduces the uneven signatures 5/4, 5/8, 7/4 and 7/8, using a variety of accenting patterns. Semester 6 uses mixed meters in which the time signature alternates bar by bar.
Intervals: In Semester 1 all chromatic intervals up to and including the perfect octave are used. In Semester 3 compound intervals from perfect octave to perfect 15th inclusive are used.
Melodic work: In the first semester rhythms are initially provided so that the student may focus exclusively on the pitch information. Nursery tunes and folk tunes are used for the "authentic" touch, using mostly stepwise or triadic movement. Longer melodies later in the semester feature repetition of musical material as commonly found in folk material. Semesters 3 and 4 introduce the idea of simple forms (binary, ternary) within the melodic work, as well as common modulations. In Semester 5 melodic dictation makes use of C clefs (including soprano clef), the melodies themselves in a similar format to those from semesters 3 and 4. These melodies are specially constructed and using rhythms which are motivic and motoric and thus lending themselves to memorisation. In semester 6 actual examples from the repertoire are used, with no particular sequence, encouraging students to draw on all skills developed during the previous semesters. While the work in the first two semesters is presented by piano only, in subsequent semesters a variety of instrumental timbres is used.
Singing: The first semester has many singing exercises designed to develop an awareness in the student for various patterns of notes, both melodic (in the form of scales and modes where patterns of tones and semitones must become apparent and well known to the student) and harmonic (in the form of triadic singing exercises). These should serve as a basis for all pitch work in this and succeeding semesters' units. Canons are sung in all semesters, one per week. This is, of course, designed so that the student may sing an independent part within an ensemble context, which helps to develop intonation, inner hearing, and the ability to deal with more than one part simultaneously. It is expected that transfer takes place in the multi-part dictation exercises as a result of singing the canons.
Harmonic work: An understanding of harmony and an ability to hear harmonic implications is an important part of the musician's tools of trade. In Semester 2, work covers recognition of triads and chords of various qualities and positions, leading to cadence recognition and then to short stock progressions of four chords. In Semester 3 students are required to recognise a number of different progressions of seven chords. It is expected that understanding of harmonic progressions will also transfer to multi-part work.
Multi-part work: Semester 3 introduces two-part work (treble and bass), initially with a quite static bass using tonic, dominant and subdominant, then progressing by utilizing inversions and then passing notes to create a more fluid, interesting and independent bass line. Various timbres are used, eg piano, oboe and bassoon, violin and cello. The treble parts are of similar difficulty to the melodic dictations of Semester1. In Semester 4, three-part work is encountered (two treble and one bass, one treble and two bass), leading to four-part work in Semester 5 and finally orchestral dictation in Semester 6. Semester 5 begins with single chords, leading on to cadences, stock three-chord progressions, then several pieces with identical rhythm (so that pitch may be the exclusive focus) and then to simple hymns for which the student must additionally supply the rhythm. Semester 5 links to Semester 6 by revising four-part work, transferring then to four-part string orchestra, and gradually introducing sustained horn/trumpet parts, then woodwind, to build up to a standard classical orchestra. Exact pitch is not the expectation here, but rather that the student will observe the correct type of timbre in the correct register or tessitura. Piano reductions are provided to assist the student with the pitch material.
Other facets: Exercises are provided in recognition of Dynamics (Semester 4) as well as for Phrasing and Articulation (Semesters 5 and 6). Students are provided with blank scores on which they mark, as appropriate, the dynamics or add staccato dots, phrasing slurs, accents and tenuto marks as heard on the CD. In Semester 5 this involves a single melodic line; in Semester 6 short two-part pieces are used.
General
1 Future developments.
a) Teaching: Extended use of CD ROM to include slide-show presentations and compressed video clips of teaching techniques and repertoire performance and discussion.
b) Music Writing Techniques: CD ROM to include audio examples of harmony and counterpoint exercises.
2 CD ROM for aural training.
Development Process
a) A three year, six semester aural development program was conceptualised and examples prepared. This includes assignments and examinations. (Phillip Gearing)
b) Aural examples were prepared using a midi keyboard controller to Computer 1 that has Cubase VST Score 3.5 installed. This is connected to Computer 2 that has Gigasampler installed. Piano sampling (Gigasampler) is of a Yamaha D7. Orchestral excerpts are taken from Akai format Peter Siedlaczek's Advanced Orchestra series and Prosonus Orchestral collection. Audio recording is carried out through the Gigasampler sound capture facility. Audio files are edited and resampled to 22,050 Hz to enable all sound examples to be included on one CD (Sound Forge 4.0). Directions are given in text format, and notation is prepared from Cubase score using Snagit and outputting to a 2 bit BitMap file. This reduces the load time, especially when pages need to be loaded in sequence during canon exercises. (Laurence Lepherd)
c) Required files are loaded into an engine developed with Macromedia Director 8. (Ken Morton)
Aural Development Demonstration &endash; CD ROM
The authors would welcome comments or suggestions on matters relating to this paper.
Laurence Lepherd &endash; lepherd@usq.edu.au
Phillip Gearing &endash; gearing@usq.edu.au
Biographical Note
Laurence Lepherd is an Honorary Associate Professor and a former Head of the Department of Music in the Faculty of Arts, and for eight years was Associate Dean responsible for the co-ordination of academic development in the Faculty. In 1984 he was awarded a Master of Education with Honours from the University of New England (in music education) and is a graduate of the NSW Conservatorium of Music. He holds an AMusA in Musical Perception. He has been a Visiting Fellow at the University of London, Institute of Education, and a participant in the Australian government's cultural exchange program with the Soviet and Russian governments. He has lectured and published widely in Australia, America, Britain, Europe, Russia and Asia. He is a Fellow of the Australian College of Education, a distinction awarded for his contribution to international music education. He was Publishing Editor of the Research Studies in Music Education journal. He continues to teach in the Department's pedagogy courses at undergraduate and postgraduate levels where he is particularly interested in the offering of courses through distance education using modern technology. He was director of the University of Southern Queensland Chamber Choir for 20 years.