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Articles

Exploring teachers’ and pupils’ behaviour in online and face-to-face instrumental lessons

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Pages 197-209 | Received 13 Feb 2018, Accepted 21 Jan 2019, Published online: 27 Feb 2019
 

ABSTRACT

The provision of instrumental lessons in certain areas of England can be hampered by the geographical position of some schools that are rural in nature, with teachers needing to travel long distances between schools. Internet-based technologies have been successfully used elsewhere to deliver instrumental lessons. A collaboration between the authors, North Yorkshire Music Action Zone and YouCanPlay allowed the delivery of instrumental lessons using Skype in combination with a Roland VR-3EX, an AV Mixer which offers 3 camera angles and good quality sound. Our aim was to repurpose existing technology to provide instrumental lessons in remote rural communities. The study was conducted in two-phases: a pilot study in North Yorkshire; and a further roll-out of the lessons in four additional areas (Cornwall; Cumbria; Durham/Darlington; and East Riding of Yorkshire). We wished to investigate the technical challenges and pedagogical aspects of the delivery, and also compare digitally-delivered and face-to-face instrumental lessons to explore the differences in behaviour. Data collected included pre- and post-project interviews with teachers, recordings of the teachers’ first and last lessons, and post-project questionnaires from pupils and their parents. Results suggested that there were technical challenges relating to sound, video and connection quality, and the physical environment of the lessons, some of which were alleviated by the Roland VR-3EX. Some concerns expressed by teachers in the initial interviews failed to materialise; others were overcome to some extent. Pupils concentrated well, were motivated to practice, and made good progress. Further analysis of the video data has allowed the comparison of face-to-face and digitally-delivered lessons. All teachers found the digital teaching more challenging than their usual face-to-face teaching; however, all reported that they would undertake similar teaching again. This paper focuses upon the exploring the behaviour of participants observed in the lessons. Digital delivery has the potential to provide greater access to instrumental lessons for children in rural communities.

Acknowledgements

The team would like to acknowledge the funding provided by the Nesta Digital Research and Development award and the Arts Council England.

Disclosure statement

No potential conflict of interest was reported by the authors.

Notes on contributors

Dr Andrew King is the Head of the School of Arts at the University of Hull and a former Head of Music at the same institution. He has led major research projects funded by AHRC, the Arts Council, the Paul Hamlyn Foundation (via PRSF, Sound and Music) in the areas of online music education, psychological wellbeing and evaluating the impact of composer residencies. He is the first editor of both Music Technology and Education: Critical Perspectives and The Routledge Companion to Music, Technology and Education. He has been the editor of The Journal of Music, Technology, and Education for over a decade and has co-directed four international conferences in Music Education Technology (MET) since 2010.

Dr Helen Prior is a Lecturer in music at the University of Hull. Helen is a music psychologist with interests in music perception and emotion and music performance. She previously held a post-doctoral position with the Centre for Musical Performance as Creative Practice, at King's College, London. There, she worked in the Shaping Music in Performance research group, led by Daniel Leech-Wilkinson. She has co-edited two volumes entitled Music and Familiarity (2013) and Music and Shape (2017).

Dr Caroline Waddington-Jones is a Lecturer in music at the University of Hull, and Lecturer in Music and Therapeutic Arts at the University of Derby. Her current research examines the perceived impact of various new music projects connected to Hull's City of Culture year on different communities in Hull. She also works as a professional clarinettist and SEN/D music practitioner and is co-editor of Music and Empathy.

Notes

Additional information

Funding

The team would like to acknowledge the funding provided by the Nesta Digital Research and Development award and the Arts Council England.

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