Distance music education in Northern Europe
Professor Sture Brändström & professor Christer Wiklund
Department of Music and Media, Luleå University of Technology,
Sweden
The theme in this presentation is distance music education in the North Calotte area, more exactly at the Department of Music and Media in Piteå at Luleå University of Technology. Our department is situated just about two hours drive from the Polar circle. It has become an important task and a challenge at our university to find out how information- and communication technology can affect and improve music education.
In the northern part of Scandinavia, we are used to long distances between cities and villages. And, as you can see on the map, it is quite a large geographical area involved. So, the question in focus is, how can we cooperate between cities and countries in music teaching and learning despite of long distances between institutions and people? Over a period of two years, we have been carrying out a distance project together with partner universities and music schools in northern Norway and Finland (Tromsø, Oulo, Helsinki, Piteå, and Gällivare).
Due to the volcano eruption in Iceland, almost all flights in Europe were cancelled for several days. Fortunately, the ash cloud disappeared and we were able to assemble here in the city of Bolu. Last week it had been impossible. Maybe, the volcano gave us a hint of the necessity to develop virtual meetings as an alternative to face-to-face meetings.
The name of the project we are going to present is Vi r Music. It is pronounciated Vir Music, with a reference to Virtual music, or more freely We are Music. The Internet address to the home site is www.vi-r-music.blogspot.com/ The aim of the project is to create a network that will start researching and testing the possibilities for virtual music education at different levels.
The Swedish part of the project is focused on evaluation and research. It is divided in three different parts. Masterclasses, electric guitar teacher training and vocal teacher training. Two doctoral students are engaged in the project, one in music education and one with specialization in audio technology. Christer and Sture are supervisors for the music education student. This presentation will focus on pedagogical/didactic questions. When it comes to more sophisticated technical questions, we have technical specialists in the project to our help.
In the project we have listened to synchronic and asynchronic masterclasses with among others the world famous violinist Pinchas Zukerman. Synchronic means on line lessons in real time. In asynchronic tuition the student delivers a question to the teacher and receives an answer some hours later or the day after. We have also had masterclasses with the singer Monica Groop from the Sibelius Academy in Finland, the violinist Christian Svarfvar from Piteå School of Music and many other eminent artists and teachers.
The equipment used in the masterclasses was a video conference system designed by the company Tandberg. All participants including the teacher were exposed on a big TV screen.
To collect data from the master classes our doctoral students have carried out interviews with teachers and students. They have also made observations and all master classes are documented on videotape for later analysis.
The students at the music teacher training program are supposed to have at least two instrumental lessons every week with pupils in the age from 9 to 19 years. A guitar teacher in the project thought it could be a fruitful idea to let the students have distance lessons with pupils living in Gällivare, 300 kilometres north of Piteå. We decided to start with just e-mail, chat and Skype, with or without video conference-support. That’s where we are right now. Furthermore, a vocal teacher in Piteå has given virtual singing lessons to a group of Finnish students. She is specialized on jazz and rock music and Skype has been used as her main distance equipment.
Masterclasses is also an important part of the project. Our preliminary results show that some students and even some teachers consider the masterclass as a lesson, while others understand it as a mini-concert. Most of the students interviewed so far, say that it’s the teacher who decides if the masterclass is going to be like a concert or more like a dialogue between teacher and student. The audience seem to have a supporting role for the student if the instruction is performed in a dialogic way, but the audience can also be perceived as a real concert audience where you have no chance to correct mistakes. Some of the interviewed students told us that sitting in the audience during a master class is very meaningful. It is the opportunity to watch and listen to the performance and the instruction, without the tension often connected with singing or playing for other people.
Some further preliminary results: Thirty years ago the music teacher had just a few tools to handle. They had for example their instrument, the written score and maybe a tape recorder. In distance education there are several technical equipments added to the music education context: computer, microphone, speakers, headphones etc. The teacher sometimes has to give technical support to the student but on the other hand the students are often more skilled when it comes to control the technology.
Some teachers and students stress the fact that distance lessons are much more intense and that they need to be carefully planned. We have found that 30 minutes lessons are optimal concerning distance tuition. That’s also what is recommended by experienced virtual pedagogues like for example Pinchas Zukerman.
As a conclusion we will give some practical advices, based on our experiences so far in the project.
• Try to have similar rooms with calm backgrounds; not too many things like paintings on the walls.
• Use light that doesn’t create shadows in the participants’ faces.
• It is important to have similar acoustics in the rooms involved, without too much echo. For example, it is good to have soft black curtains on the walls.
• One aspect we want to emphasize: if you as music educators want to develop distance education, you should have skilled audio engineers to your help.
• And finally: Don’t hesitate to start developing Virtual music pedagogy right now – both for your students and for the environment as a whole.
Sture.brandstrom@ltu.se
christer.wiklund@ltu.se
Friday 11 June 2010
Tuesday 13 April 2010
Examples on virtual classes
Examples of both synchronic and asynchronic classes on Särestö Academy's web.
2nd International Workshop 12.-13.4.2010
Vi r Music is an international project, which is funded by Interreg-program. This project researches, carries out and developes the music distance teaching especially in the North Calotte Area. Oulu University of Applied Sciences is one of the project partners, and the one which practices the distance teaching in the project. 2nd International Workshop in Oulu 12.-13.4.2010 gathered the Vi r Music – project partners from Finland, Sweden and Norway to Oulu to represent the results gathered so far.
Monday 12.4.2010
10.00 Welcome Speech
Airi Hirvonen, Director of Oulu UAS School of Dance, Music and Media presented the Vi r Music project in a nutshell.
10.15 Teacher Training Updated - Activities and Results
Outi Nissi, Project Coordinator in Oulu University of Applied Sciences told about project activities and
Riitta Tötterström, Head of Music Department, Oulu UAS consentrated on teacher training experiences.
11.30 Bachelor’s Thesis: Violin on the Web – Introduction to Violin Distance Education by Marjo Kangasluoma, Oulu UAS
13.30-15.15 Distance Master Classes and Technical Features in the Equipment used
Maarit Rajamäki, Artistic Director and Noa Nakai, Expert in Music Technology, Särestö Academy presented their experiences on virtual classes.
Examples on virtual classes
Tuesday 13.4.2010
9.00 Demonstration and Preliminary Research Findings
Piteå Musikhögskola, Sweden
Presentations:
Dan Nyberg
Erik Lundström
Demonstration: Guitar lesson via Skype
13.00-14.00 Technological Aspects for Distance Education in Music
Ilmari Mäenpää, eConcerthouse
Monday 12.4.2010
10.00 Welcome Speech
Airi Hirvonen, Director of Oulu UAS School of Dance, Music and Media presented the Vi r Music project in a nutshell.
10.15 Teacher Training Updated - Activities and Results
Outi Nissi, Project Coordinator in Oulu University of Applied Sciences told about project activities and
Riitta Tötterström, Head of Music Department, Oulu UAS consentrated on teacher training experiences.
11.30 Bachelor’s Thesis: Violin on the Web – Introduction to Violin Distance Education by Marjo Kangasluoma, Oulu UAS
13.30-15.15 Distance Master Classes and Technical Features in the Equipment used
Maarit Rajamäki, Artistic Director and Noa Nakai, Expert in Music Technology, Särestö Academy presented their experiences on virtual classes.
Examples on virtual classes
Tuesday 13.4.2010
9.00 Demonstration and Preliminary Research Findings
Piteå Musikhögskola, Sweden
Presentations:
Dan Nyberg
Erik Lundström
Demonstration: Guitar lesson via Skype
13.00-14.00 Technological Aspects for Distance Education in Music
Ilmari Mäenpää, eConcerthouse
Tuesday 30 March 2010
Thursday 25 March 2010
Most common problems in video conference technology
Noa Nakai from Särestöacademy has collected the most common problems and solutions conserning video conference technology used in Vi r Music project, virtual music education.
Tuesday 23 February 2010
Vi r Music project participating EAS Conference 2010
Sture Brändström and Christer Wiklund will present Vi r Music and preliminary results at the yearly conference arranged by EAS (European Association for Music in Schools) and ISME (International Society for Music Education). It is in Bolu (Turkey) 26-29/4 2010.
ABSTRACT
Department of Music and Media, Luleå University of Technology participates 2009-2010 together with Finnish and Norwegian music institutions in the project Vi r Music. Funder is mainly Interreg IV A Nord, European Regional Development fund. The main purpose is to create an active network of distance music educators and in the long run to permanent the use of virtual instrumental pedagogy. The project also aims to develop the education of instrumental teachers and to carry out research about virtual music education. The research part includes studies of masterclasses online, virtual guitar tuition and singing lessons. Preliminary results indicates that technology is an important and at the same time difficult factor to handle for a music teacher. In the distance education situation new tools are added and each tool consists of several parameters in need to be controlled. A practical question generated from a pilot study was: How can the teacher control the video picture, volume and timbre of the sound when speaking, listening or playing? Different didactic activities seem to need different adjustments of the technical equipment. The students are positive to have distance education as a choice in their teacher training, especially if there is a possibility to play together with musicians from other parts of the world.
Presentation
Distance music education in Northern Europe
Professor Sture Brändström & professor Christer Wiklund
Department of Music and Media, Luleå University of Technology, Sweden
The theme in this presentation is distance music education in the North Calotte area, more exactly at the Department of Music and Media in Piteå at Luleå University of Technology. Our department is situated just about two hours drive from the Polar circle. It has become an important task and a challenge at our university to find out how information- and communication technology can affect and improve music education.
In the northern part of Scandinavia, we are used to long distances between cities and villages. And, as you can see on the map, it is quite a large geographical area involved. So, the question in focus is, how can we cooperate between cities and countries in music teaching and learning despite of long distances between institutions and people? Over a period of two years, we have been carrying out a distance project together with partner universities and music schools in northern Norway and Finland (Tromsø, Oulo, Helsinki, Piteå, and Gällivare).
Due to the volcano eruption in Iceland, almost all flights in Europe were cancelled for several days. Fortunately, the ash cloud disappeared and we were able to assemble here in the city of Bolu. Last week it had been impossible. Maybe, the volcano gave us a hint of the necessity to develop virtual meetings as an alternative to face-to-face meetings.
The name of the project we are going to present is Vi r Music. It is pronounciated Vir Music, with a reference to Virtual music, or more freely We are Music. The Internet address to the home site is www.vi-r-music.blogspot.com/ The aim of the project is to create a network that will start researching and testing the possibilities for virtual music education at different levels.
The Swedish part of the project is focused on evaluation and research. It is divided in three different parts. Masterclasses, electric guitar teacher training and vocal teacher training. Two doctoral students are engaged in the project, one in music education and one with specialization in audio technology. Christer and Sture are supervisors for the music education student. This presentation will focus on pedagogical/didactic questions. When it comes to more sophisticated technical questions, we have technical specialists in the project to our help.
In the project we have listened to synchronic and asynchronic masterclasses with among others the world famous violinist Pinchas Zukerman. Synchronic means on line lessons in real time. In asynchronic tuition the student delivers a question to the teacher and receives an answer some hours later or the day after. We have also had masterclasses with the singer Monica Groop from the Sibelius Academy in Finland, the violinist Christian Svarfvar from Piteå School of Music and many other eminent artists and teachers.
The equipment used in the masterclasses was a video conference system designed by the company Tandberg. All participants including the teacher were exposed on a big TV screen.
To collect data from the master classes our doctoral students have carried out interviews with teachers and students. They have also made observations and all master classes are documented on videotape for later analysis.
The students at the music teacher training program are supposed to have at least two instrumental lessons every week with pupils in the age from 9 to 19 years. A guitar teacher in the project thought it could be a fruitful idea to let the students have distance lessons with pupils living in Gällivare, 300 kilometres north of Piteå. We decided to start with just e-mail, chat and Skype, with or without video conference-support. That’s where we are right now. Furthermore, a vocal teacher in Piteå has given virtual singing lessons to a group of Finnish students. She is specialized on jazz and rock music and Skype has been used as her main distance equipment.
Masterclasses is also an important part of the project. Our preliminary results show that some students and even some teachers consider the masterclass as a lesson, while others understand it as a mini-concert. Most of the students interviewed so far, say that it’s the teacher who decides if the masterclass is going to be like a concert or more like a dialogue between teacher and student. The audience seem to have a supporting role for the student if the instruction is performed in a dialogic way, but the audience can also be perceived as a real concert audience where you have no chance to correct mistakes. Some of the interviewed students told us that sitting in the audience during a master class is very meaningful. It is the opportunity to watch and listen to the performance and the instruction, without the tension often connected with singing or playing for other people.
Some further preliminary results: Thirty years ago the music teacher had just a few tools to handle. They had for example their instrument, the written score and maybe a tape recorder. In distance education there are several technical equipments added to the music education context: computer, microphone, speakers, headphones etc. The teacher sometimes has to give technical support to the student but on the other hand the students are often more skilled when it comes to control the technology.
Some teachers and students stress the fact that distance lessons are much more intense and that they need to be carefully planned. We have found that 30 minutes lessons are optimal concerning distance tuition. That’s also what is recommended by experienced virtual pedagogues like for example Pinchas Zukerman.
As a conclusion we will give some practical advices, based on our experiences so far in the project.
• Try to have similar rooms with calm backgrounds; not too many things like paintings on the walls.
• Use light that doesn’t create shadows in the participants’ faces.
• It is important to have similar acoustics in the rooms involved, without too much echo. For example, it is good to have soft black curtains on the walls.
• One aspect we want to emphasize: if you as music educators want to develop distance education, you should have skilled audio engineers to your help.
• And finally: Don’t hesitate to start developing Virtual music pedagogy right now – both for your students and for the environment as a whole.
sture.brandstrom@ltu.se
christer.wiklund@ltu.se
ABSTRACT
Department of Music and Media, Luleå University of Technology participates 2009-2010 together with Finnish and Norwegian music institutions in the project Vi r Music. Funder is mainly Interreg IV A Nord, European Regional Development fund. The main purpose is to create an active network of distance music educators and in the long run to permanent the use of virtual instrumental pedagogy. The project also aims to develop the education of instrumental teachers and to carry out research about virtual music education. The research part includes studies of masterclasses online, virtual guitar tuition and singing lessons. Preliminary results indicates that technology is an important and at the same time difficult factor to handle for a music teacher. In the distance education situation new tools are added and each tool consists of several parameters in need to be controlled. A practical question generated from a pilot study was: How can the teacher control the video picture, volume and timbre of the sound when speaking, listening or playing? Different didactic activities seem to need different adjustments of the technical equipment. The students are positive to have distance education as a choice in their teacher training, especially if there is a possibility to play together with musicians from other parts of the world.
Presentation
Distance music education in Northern Europe
Professor Sture Brändström & professor Christer Wiklund
Department of Music and Media, Luleå University of Technology, Sweden
The theme in this presentation is distance music education in the North Calotte area, more exactly at the Department of Music and Media in Piteå at Luleå University of Technology. Our department is situated just about two hours drive from the Polar circle. It has become an important task and a challenge at our university to find out how information- and communication technology can affect and improve music education.
In the northern part of Scandinavia, we are used to long distances between cities and villages. And, as you can see on the map, it is quite a large geographical area involved. So, the question in focus is, how can we cooperate between cities and countries in music teaching and learning despite of long distances between institutions and people? Over a period of two years, we have been carrying out a distance project together with partner universities and music schools in northern Norway and Finland (Tromsø, Oulo, Helsinki, Piteå, and Gällivare).
Due to the volcano eruption in Iceland, almost all flights in Europe were cancelled for several days. Fortunately, the ash cloud disappeared and we were able to assemble here in the city of Bolu. Last week it had been impossible. Maybe, the volcano gave us a hint of the necessity to develop virtual meetings as an alternative to face-to-face meetings.
The name of the project we are going to present is Vi r Music. It is pronounciated Vir Music, with a reference to Virtual music, or more freely We are Music. The Internet address to the home site is www.vi-r-music.blogspot.com/ The aim of the project is to create a network that will start researching and testing the possibilities for virtual music education at different levels.
The Swedish part of the project is focused on evaluation and research. It is divided in three different parts. Masterclasses, electric guitar teacher training and vocal teacher training. Two doctoral students are engaged in the project, one in music education and one with specialization in audio technology. Christer and Sture are supervisors for the music education student. This presentation will focus on pedagogical/didactic questions. When it comes to more sophisticated technical questions, we have technical specialists in the project to our help.
In the project we have listened to synchronic and asynchronic masterclasses with among others the world famous violinist Pinchas Zukerman. Synchronic means on line lessons in real time. In asynchronic tuition the student delivers a question to the teacher and receives an answer some hours later or the day after. We have also had masterclasses with the singer Monica Groop from the Sibelius Academy in Finland, the violinist Christian Svarfvar from Piteå School of Music and many other eminent artists and teachers.
The equipment used in the masterclasses was a video conference system designed by the company Tandberg. All participants including the teacher were exposed on a big TV screen.
To collect data from the master classes our doctoral students have carried out interviews with teachers and students. They have also made observations and all master classes are documented on videotape for later analysis.
The students at the music teacher training program are supposed to have at least two instrumental lessons every week with pupils in the age from 9 to 19 years. A guitar teacher in the project thought it could be a fruitful idea to let the students have distance lessons with pupils living in Gällivare, 300 kilometres north of Piteå. We decided to start with just e-mail, chat and Skype, with or without video conference-support. That’s where we are right now. Furthermore, a vocal teacher in Piteå has given virtual singing lessons to a group of Finnish students. She is specialized on jazz and rock music and Skype has been used as her main distance equipment.
Masterclasses is also an important part of the project. Our preliminary results show that some students and even some teachers consider the masterclass as a lesson, while others understand it as a mini-concert. Most of the students interviewed so far, say that it’s the teacher who decides if the masterclass is going to be like a concert or more like a dialogue between teacher and student. The audience seem to have a supporting role for the student if the instruction is performed in a dialogic way, but the audience can also be perceived as a real concert audience where you have no chance to correct mistakes. Some of the interviewed students told us that sitting in the audience during a master class is very meaningful. It is the opportunity to watch and listen to the performance and the instruction, without the tension often connected with singing or playing for other people.
Some further preliminary results: Thirty years ago the music teacher had just a few tools to handle. They had for example their instrument, the written score and maybe a tape recorder. In distance education there are several technical equipments added to the music education context: computer, microphone, speakers, headphones etc. The teacher sometimes has to give technical support to the student but on the other hand the students are often more skilled when it comes to control the technology.
Some teachers and students stress the fact that distance lessons are much more intense and that they need to be carefully planned. We have found that 30 minutes lessons are optimal concerning distance tuition. That’s also what is recommended by experienced virtual pedagogues like for example Pinchas Zukerman.
As a conclusion we will give some practical advices, based on our experiences so far in the project.
• Try to have similar rooms with calm backgrounds; not too many things like paintings on the walls.
• Use light that doesn’t create shadows in the participants’ faces.
• It is important to have similar acoustics in the rooms involved, without too much echo. For example, it is good to have soft black curtains on the walls.
• One aspect we want to emphasize: if you as music educators want to develop distance education, you should have skilled audio engineers to your help.
• And finally: Don’t hesitate to start developing Virtual music pedagogy right now – both for your students and for the environment as a whole.
sture.brandstrom@ltu.se
christer.wiklund@ltu.se
Teorian opetus verkossa
Check out this SlideShare Presentation:
Slides are part of BET - Basic Course of Educational Technology training
Teorian opetus verkossa
View more presentations from Kemi-Tornio UAS eLearning Centre.
Slides are part of BET - Basic Course of Educational Technology training
Thursday 5 November 2009
Music Education over Distance
Key issues for audio system configuration
By Dan Nyberg and Jan Berg
Department of Music and Media, Luleå University of Technology
Abstract
As communication technology advances, the opportunity of applying it in different contexts arises. A challenging context is music education over large distances where music education could be available for a range of people that would not be able to attain it otherwise. In order to enable a successful communication, the technical quality criteria for professional musical education over distance have to be known. This paper will review these quality criteria; what they are when focusing on the perceived audio quality and the limitations of the systems used. Also results from a paper survey conducted in a master class will be presented. The review shows that the major criteria found to be necessary for musical educations include; Audio quality of minimum 16 bit word length and a sampling frequency of 44.1 kHz (CD standard) for the music’s dynamics; minimum of two-channel stereo for accurate position of sound sources; full frequency range (20 Hz–20 kHz) for tone quality; near total synchronization of audio to video (lip-sync) as well as low delay between sender and receiver for interactivity and for rhythm practices. The major limitations are: teleconferencing systems designed for speech; inadequate echo cancellation; slow internet connections and large delay induced by the system configuration between sender and receiver. Further research is also proposed to investigate if these criteria change depending on the type of musical education performed and if haptic responses can further enhance music education over distance.
For full research article, please visit File Cabin
By Dan Nyberg and Jan Berg
Department of Music and Media, Luleå University of Technology
Abstract
As communication technology advances, the opportunity of applying it in different contexts arises. A challenging context is music education over large distances where music education could be available for a range of people that would not be able to attain it otherwise. In order to enable a successful communication, the technical quality criteria for professional musical education over distance have to be known. This paper will review these quality criteria; what they are when focusing on the perceived audio quality and the limitations of the systems used. Also results from a paper survey conducted in a master class will be presented. The review shows that the major criteria found to be necessary for musical educations include; Audio quality of minimum 16 bit word length and a sampling frequency of 44.1 kHz (CD standard) for the music’s dynamics; minimum of two-channel stereo for accurate position of sound sources; full frequency range (20 Hz–20 kHz) for tone quality; near total synchronization of audio to video (lip-sync) as well as low delay between sender and receiver for interactivity and for rhythm practices. The major limitations are: teleconferencing systems designed for speech; inadequate echo cancellation; slow internet connections and large delay induced by the system configuration between sender and receiver. Further research is also proposed to investigate if these criteria change depending on the type of musical education performed and if haptic responses can further enhance music education over distance.
For full research article, please visit File Cabin
ICT as an expansion of the music teacher profession
Erik Lundström & Sture Brändström
Department of Music and Media, Luleå University of Technology
Abstract
The purpose of this article is to present earlier and ongoing research about music teachers’ use of technological tools. A certain focus will be on instrument teachers in an environment where music technology and computer communication characterizes teaching. Firstly, some examples are given to show how socio-cultural learning theories could be helpful to describe and understand the music teacher profession. After that follows a review focused on research dealing with music technology and education. The review has been divided into three different content areas: Development of software and physical interfaces, Computer based composing, and Distance music education. At the end of the paper the project Vi r Music is presented. Luleå University of Technology participates in the project 2009-2010 together with Finnish and Norwegian music institutions. Present authors are involved as researchers. The main purpose is to create an active network of distance music educators and in the long run to permanent the use of virtual instrumental pedagogy. The preliminary results point to the technology as an important and at the same time difficult factor to handle for a music teacher in action.
For full research article, please visit File Cabin
Department of Music and Media, Luleå University of Technology
Abstract
The purpose of this article is to present earlier and ongoing research about music teachers’ use of technological tools. A certain focus will be on instrument teachers in an environment where music technology and computer communication characterizes teaching. Firstly, some examples are given to show how socio-cultural learning theories could be helpful to describe and understand the music teacher profession. After that follows a review focused on research dealing with music technology and education. The review has been divided into three different content areas: Development of software and physical interfaces, Computer based composing, and Distance music education. At the end of the paper the project Vi r Music is presented. Luleå University of Technology participates in the project 2009-2010 together with Finnish and Norwegian music institutions. Present authors are involved as researchers. The main purpose is to create an active network of distance music educators and in the long run to permanent the use of virtual instrumental pedagogy. The preliminary results point to the technology as an important and at the same time difficult factor to handle for a music teacher in action.
For full research article, please visit File Cabin
Good experiences on cooperation
Vi r Muscic project started 1st of February 2009. Within nine months we have had several good experiences on common virtual experiments both in teacher education and in virtual music classes. In general, Virtual meeting experiences have been positive and expected sustainable impact is seen valuable due travelling between three participating countries and five organisations was reduced dramatically compared to traditional meeting and education arrangements. It's time to present what we have achieved until now.
As the project is divided into four work packages, the first report was also structured according to them. Shortly, following results have been achieved in different WP's:
WP0, Management (Kemi-Tornio University of Applied Sciences)
- Common meetings have been organised both virtually and face-to-face. In addition, information and publicity activities and project bureaucracy are taken care within this WP.
WP1, Methods and Practices (Luleå Tekniska Universitet, Musikhögskolan i Piteå)
- Research papers on "Music Education over Distance" and "ICT as an expansion of the music teacher profession".
WP2, Teacher training (Oulun seudun ammattikorkeakoulu)
- Technical definitions on suitable equipment
- Establishing further cooperation between different music education schools
- Virtual music education pedagogy training "Basic Course of Educational Technology"
- First common international workshop 11.-12.9.2009
WP3, Virtual Classes (Särestön kamarikonsertit ry)
- "Levi Master Classes" 22.-27. June 2009, including also section when distance teaching from Finland to Japan was tested for the first time with small children playing violin.
- "Olos Virtual Classes" in autumn 2009.
- Different virtual testings have been run in addition to other virtual classes which have been orgnanised.
Samples from classes will be linked to these pages later.
Please do not hesitate to contact us for further information!
If you got interested, keep following our pages for future results!
As the project is divided into four work packages, the first report was also structured according to them. Shortly, following results have been achieved in different WP's:
WP0, Management (Kemi-Tornio University of Applied Sciences)
- Common meetings have been organised both virtually and face-to-face. In addition, information and publicity activities and project bureaucracy are taken care within this WP.
WP1, Methods and Practices (Luleå Tekniska Universitet, Musikhögskolan i Piteå)
- Research papers on "Music Education over Distance" and "ICT as an expansion of the music teacher profession".
WP2, Teacher training (Oulun seudun ammattikorkeakoulu)
- Technical definitions on suitable equipment
- Establishing further cooperation between different music education schools
- Virtual music education pedagogy training "Basic Course of Educational Technology"
- First common international workshop 11.-12.9.2009
WP3, Virtual Classes (Särestön kamarikonsertit ry)
- "Levi Master Classes" 22.-27. June 2009, including also section when distance teaching from Finland to Japan was tested for the first time with small children playing violin.
- "Olos Virtual Classes" in autumn 2009.
- Different virtual testings have been run in addition to other virtual classes which have been orgnanised.
Samples from classes will be linked to these pages later.
Please do not hesitate to contact us for further information!
If you got interested, keep following our pages for future results!
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