Online Learning in Music : Foundations, Frameworks, and Practices

With a focus on higher education, Online Learning in Music: Foundations, Frameworks, and Practices offers insights into the growth of online learning in music, perspectives on theoretical models for design and development of online and blended courses, and principles for good practice in online music teaching and learning.

Focused on music in higher education, Online Learning in Music: Foundations, Frameworks, and Practices offers insights into the growth of online learning in music, perspectives on theoretical models for design and development of online courses, principles for good practice in online education, and an agenda for future research. In Part I the book provides an overview of the historical development of online education in music, addresses quality assurances regarding security and academic integrity, and summarizes guidelines and accreditation standards relevant to development and implementation of online instruction. It reviews current research on online learning in music, including program and course design and evaluation studies and studies of pedagogical strategies in various music subdisciplines-applied music, music education, music theory, music appreciation, and music therapy. Part II explores several theoretical models for online course design, development, and implementation, each representing a particular perspective that may be useful in developing online instructional practice. In Part III the book presents a creative approach to online course design-composing the course, choreographing learning experiences, conducting the course-and its application both in fully online and in blended courses. Practical design recommendations and learning experiences appropriate to various music courses illustrate components of these course designs. The book explores multiple aspects of online teaching and learning: it challenges stereotypical views of professors as "sage on the stage" or "guide on the side," characterizing the online professor as Director of Learning, and it identifies some active roles that students may assume. It suggests ways to prevent problems and resolve those that do arise, and it makes recommendations for various approaches to faculty development. The book includes an overview of best practices for online teaching and learning. It concludes with a look toward the future and with suggestions for advancing the research on online learning in music.