Abstract: Focused on music in higher education, the book 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. Part I presents an overview of the historical development of online education in music and addresses quality assurances. It summarizes guidelines and standards relevant to development and implementation of online instruction, and reviews current research on online learning in music. Part II explores theoretical models for online course design, development, and implementation. Part III describes a creative approach to online course design—composing the course, choreographing learning experiences, and conducting the course—and its application in both fully online and blended courses. It explores aspects of teaching and learning in the online classroom, emphasizes the role of the professor as director of learning, and identifies active roles that students may assume. It suggests ways to prevent problems and resolve those that do arise, and it makes recommendations for faculty development. The book includes a concise overview of best practices for online teaching and learning. It concludes with a look toward the future and suggestions for further research on online learning in music. (Available via Oxford Scholarship Online)
This resource offers inspiration and ideas about how to use digital tools (such as Zoom) to continue to maintain the connection with your ensemble in the virtual realm.
THEATRE, SPEECH, AND DANCE
This paper explores the design of virtual and physical learning spaces developed for students of drama and theatre studies. What can we learn from the traditional drama workshop that will inform the design of drama and theatre spaces created in technology-mediated learning environments? The authors examine four examples of spaces created for online, distance and on-campus students and discuss the relationship between the choice of technology, the learning and teaching methods, and the outcomes for student engagement. Combining insights from two previous action research projects, the discussion focuses on the physical space used for contemporary drama workshops, supplemented by Web 2.0 technologies; a modular online theatre studies course; the blogging space of students creating a group devised play; and the open and immersive world of Second Life, where students explore 3D simulations of historical theatre sites. The authors argue that the drama workshop can be used as inspiration for the design of successful online classrooms. This is achieved by focusing on students' contributions to the learning as individuals and group members, the aesthetics and mise-en-scene of the learning space, and the role of mobile and networked technologies. Students in this environment increase their capacity to become co-creators of knowledge and to achieve creative outcomes. The drama workshop space in its physical and virtual forms is seen as a model for classrooms in other disciplines, where dynamic, creative and collaborative spaces are required.
The advent of distance education in universities has created curricular and pedagogical concerns as well as possibilities for dance educators. This article addresses questions concerning how technology has altered and broadened traditional viewing and performing venues, the role of the dancer and spectator within them, and how these changes impact teaching and learning dance online. Examples from "Dance, Gender, and Culture," an online course that is cross-listed between the disciplines of Dance and Women's Studies, illustrate how students enrolled in distance learning courses become active participants in re-shaping aesthetic principles for viewing and writing about dance and how their individual cultural experiences and everyday lives impact their interpretations. In summary, teaching dance in a virtual format dissolves the traditional hierarchies between dance experts and learners as well as the boundaries between academic disciplines and artistic styles.
Community-based documents with tips about how to use Zoom to create virtual scenes and view solo work with minimal disruption.
ART & ART HISTORY
Social media practices are increasingly woven into the everyday lives of teens and adults, becoming a significant part of how they relate, know, and learn. In this article, I present findings from a design-based research study that explored how the dynamics of learning and teaching art shift through social media. Learning and teaching through social media has been described as a form of participatory culture, and I expand this further by drawing upon complexity thinking to better understand the reciprocal dynamics of learning and teaching. Learning art through social media can be characterized as encounters with difference, both in ideas and contexts. Subsequently, the dynamics of attention shifts and distributes across collectives. From this, I infer a conceptualization of the art teacher as an identity that is not fixed but one that shifts throughout social media.
While lengthy, this compilation is a one-stop shop for access to a wide variety of “virtual retreats to art, culture, and history around the globe. Every resource is free to access and enjoy.”