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DOI: https://doi.org/10.34069/AI/2023.61.01.28
How to Cite:
Yalovskyi, P., Lotsman, R., Yurieva, K., Parfentieva, I., & Sokolova, A. (2023). Alternative ways of organizing distance practical
classes for future music art teachers. Amazonia Investiga, 12(61), 276-286. https://doi.org/10.34069/AI/2023.61.01.28
Alternative ways of organizing distance practical classes for future
music art teachers
Альтернативні Способи Організації Дистанційного Навчання для Проведення
Практичних Занять Майбутніх Учителів Музичного Мистецтва
Received: January 28 2, 2023 Accepted: February 26, 2023
Written by:
Pavlo Yalovskyi117
https://orcid.org/0000-0002-4116-1674
Ruslana Lotsman118
https://orcid.org/0000-0002-8500-1402
Kateryna Yurieva119
https://orcid.org/0000-0001-6403-9973
Iryna Parfentieva120
https://orcid.org/0000-0001-6201-4916
Alla Sokolova121
https://orcid.org/0000-0003-0284-7320
Abstract
The aim of this research was to find and study the
effectiveness of alternative ways of organizing
practical classes in Musical Art for Pedagogy
students in the context of distance learning. The
research involved semi-structured interviews
with teachers and student surveys using a close-
ended questionnaire. The content analysis of the
answers revealed the main difficulties that the
teachers had to deal with when organizing
distance practical classes in Musical Art. It also
enabled finding optimal ways to eliminate them.
Their high efficiency was verified by conducting
a pedagogical experiment. It was established that
traditional methods of education are impossible
during distance learning. They need to be
replaced with new ones that are effective in
technology-mediated learning. It was found that
music teachers used special software, digital
musical instruments as an alternative to
traditional ones. Teachers also recorded video
instructions and video lessons, and students
recorded video reports on the work done.
117
Doctor of Philosophy, Senior Lecturer at the Department of Art Disciplines and Methods of Teaching, Faculty of Pre-school and
Primary Education, History and Art, Kremenets Taras Shevchenko Regional Academy of Humanities and Pedagogy, Kremenets,
Ukraine.
118
PhD of Pedagogical Science, Doctoral Student of Anatolij Avdievskyi Faculty of Arts, M. Dragomanov Ukrainian State University,
Kyiv, Ukraine.
119
Doctor of Pedagogical Sciences, Professor of the Musical Art Department, Faculty of Arts, H.S. Skovoroda Kharkiv National
Pedagogical University, Kharkiv, Ukraine.
120
Doctor of Philosophy in Education, Associate Professor, Department of Musical Arts, Faculty of Pedagogy and Psichology,
V.О. Sukhomlynskyi National University of Mykolaiv, Mykolaiv, Ukraine.
121
Doctor of Pedagogical Sciences, Professor of the Musical Art Department, Faculty of Arts, H.S. Skovoroda Kharkiv National
Pedagogical University, Kharkiv, Ukraine.
Yalovskyi, P., Lotsman, R., Yurieva, K., Parfentieva, I., Sokolova, A. / Volume 12 - Issue 61: 276-286 / January, 2023
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Teachers began to use new teaching methods.
Distance learning yielded higher learning
outcomes than the traditional one, as
technologies are interesting to students and
contribute to their motivation and engagement.
This article was reduced to the study of the
peculiarities of the organization of distance
learning of students — future teachers of Musical
Art. Further research should be aimed at
identifying ways of organizing Music Art
education in general secondary educational
institutions.
Keywords: learning technologies, digital
competence, synchronous online learning, e-
learning, music education.
Introduction
The pandemic of 2020 made people to revise the
forms and methods of interaction with each
other. Many workers in various industries have
switched to teleworking. The education system
has also undergone changes. Traditional offline
learning had to be replaced by distance learning
in a short period of time (Bork-Hüffer et al.,
2021). This extreme shift to distance learning has
caused a number of problems (Śliwa et al., 2021).
Many curricula required direct contact of
students with teachers, as well as the use of
educational equipment that remained in the
educational institutions. The problem that
students didn’t have musical instruments at home
has become one of the obstacles to
comprehensive practical training of future music
teachers. The teachers of music education
institutions were tasked to find ways of
conducting practical classes in musical art
different from the traditional ones because of the
need to maintain distance. The analysis of the
academic literature in the Literature Review
section found that little attention was paid to the
methods of organizing practical classes in
musical art. Therefore, the aim of this research
was to identify and study the effectiveness of
alternative methods of conducting practical
classes in the context of distance learning by
using the example of future music teachers.
This aim involved the fulfilment of the following
research objectives:
1) Study the experience of organizing practical
classes by Music Art teachers in the context
of distance learning.
2) Conduct a pedagogical experiment to study
the impact of proposed alternative methods
of organizing practical classes on the level of
practical professional skills of future music
teachers.
3) Study the degree of students’ satisfaction
with alternative ways of organizing distance
learning when conducting practical classes
in musical art.
The next section after the Literature Review
contains a description of the methods used to
achieve the aim. The obtained results are
presented in the Results section: the list and
frequency of problems that the music teachers
faced during the organization of distance
learning, the strategies and methods used to
achieve the desired result. Provisions according
to which distance learning was organized during
the pedagogical experiment are also indicated.
The results of a survey of students on their
impression of the experiment are presented. The
results of the final assessment of students’
academic performance are also provided. The
obtained results were discussed, and the
conclusions were drawn.
Literature Review
In general, music education is important not only
for cultural and educational development, but
also for social, psychological (Gül, 2021) and
intellectual one (Labunets et al., 2021).
Therefore, it should be continuous regardless of
extreme situations. Distance education can be an
alternative to the traditional form of education. It
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is not new. The first attempts at distance
education were recorded as early as in 1728.
Newspapers were the main means of education
then, later — a radio, followed by a TV, a
computer (Gül, 2021). However, only 2% of
students studied remotely in 2016. The year of
2020 marked by a forced mass transition to this
form of education (Bork-Hüffer et al., 2021). It
was not immediately effective (Śliwa et al.,
2021). Teachers acquired digital competences in
a few weeks, learned new teaching methods and
adapted their courses to online learning under
extreme conditions (Schiavio et al., 2021). For
example, more than 5,000 courses were prepared
and posted on the online platform in two weeks
in one of the Chinese universities (Cicha et al.,
2021). The following online platforms were
used: Zoom, Google Meet, Microsoft Teams,
Cisco WebEx (Wannapiroon et al., 2022),
Edmodo (Aslan et al., 2021), and Skype. Besides,
TV channels, social networks (Facebook and
YouTube) (Aslan et al., 2021) etc. were also
used. Teachers acquired good experience that
will be used after the pandemic (Cicha et al.,
2021) by integrating online learning methods
into the traditional form (Wannapiroon et al.,
2022). They learned how to use conferencing,
which made it possible to involve students and
teachers from anywhere in the world in learning
and teaching, regardless of the location of the
university. However, the issue of organizing
practical classes in the context of forced
distancing remains poorly studied.
Researchers proved that the distance education
had a number of advantages. In addition to
solving the problem of distancing participants in
the educational process, it provided flexibility of
time (Vladova et al., 2021) and flexibility of
learning (Zuo et al., 2021), opened the possibility
of sharing and using materials via the Internet for
many teachers, for example, Educational
Information Network (Aslan et al., 2021). ICTs
have provided teachers with resources that can be
reused and quickly disseminated
(Bolívar-Chávez et al., 2021). The organization
of distance learning required solving many
problems. For example, it is impossible to
organize practical classes for students of some
majors: doctors, artists, chemists, physicists,
instrumental musicians (Cicha et al., 2021;
Joseph & Trinick, 2021). The lack of instant
feedback resulted in more time spent learning the
same material online compared to traditional
learning (Aslan et al., 2021). Teaching music has
its own specifics. It involves both theoretical
(Solfeggio, Music History) and practical
(Instrumental Mastery, Ensemble) courses
(Biasutti et al., 2021). The latter requires the
synchronous interaction of participants in the
educational process, the availability of musical
instruments, and a place for learning (Aslan et al.,
2021). Synchronous distance learning often
depends on the quality of the Internet connection,
as well as on the availability of ICTs. Besides,
not all students have the necessary musical
instruments at home. Therefore, the transition to
the distance learning necessitated a search for
alternative to traditional ways of teaching and
learning. For example, the following were used:
brainstorming, dramatization, exhibitions and
demonstrations (Aslan et al., 2021), project
method (Francom et al., 2021; Rolinska, 2021),
flipped classroom (Ng et al., 2022), coaching
(De Bruin, 2021), portfolio (Okay, 2021) and
others. Various computer software for teaching
music (Bresler, 2021), for example, Sibelius
(Bolívar-Chávez et al., 2021), or Simply Piano
— an application for learning to play the piano
(Mei & Yang, 2021) - began to be used. They
made it possible to focus on the elements of
musical temperaments, intervals, chords, being
more effective than in-class work and providing
a student-centred approach (Rolinska, 2021;
Ishhenko et al., 2022). ICTs help in audition,
reading scores, listening to musical instruments
(Ng et al., 2022).
The success of online learning depends on the
digital literacy of the participants in the
educational process (Willermark & Gellerstedt,
2022). A teacher must have high-level digital
competence (Polhun et al., 2021) and be self-
efficacious (Ogodo et al., 2021). The
development of these competencies also depends
on the community (urban, rural) in which the
educational institution where the teacher works is
located (Johnson & Stanley, 2021).
The transition to online education was facilitated
by the creation of teacher communities and
providing assistance to teachers through
briefings and special courses. Their main
objectives were the following (Wannapiroon et
al., 2022): teach how to analyse course content,
use videoconferencing, conduct classes online,
create and manage online resources, develop
tests, create videos, evaluate learning outcomes
remotely, etc.
The effectiveness of distance education also
depends on the acceptance of technologies by the
participants of the educational process (Vladova
et al., 2021). The technology acceptance model
(TAM) is most often used to determine it (Zuo et
al., 2021). Although students and pupils were
born in the era of technological development and
are familiar with virtual reality, this does not
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mean that they have sufficient digital literacy for
online learning (Joseph & Trinick, 2021).
Anderson (2022) discusses the CLASP model of
music education, which includes the following
components: composition (C), literature studies
(L), audition (A), skill acquisition (S), and
performance (P). Degé (2021) offers reading
musical notations, distinguishing by ear,
memorizing musical and auditory excerpts,
training fine motor skills and gaining knowledge
about the structure of music. Abeles et al., (2021)
proposed to include the study of popular music in
the programme. They advised to use international
opportunities for professional development of
popular music education — Musical Futures —
in order to improve the teacher qualifications.
Music teachers are taught to play, improvise,
compose, model, and perform on modern
musical instruments (guitar, electric bass, drums,
and keyboard instruments). The access to digital
resources containing lesson plans, popular music
arrangements, and playback tracks is also
provided. Those include the Berklee PULSE
Music Method website or the LKR Jam Zone
(Abeles et al., 2021) and CanDoMusic
(Calderón-Garrido et al., 2021).
In musical practice, it is not so much the quantity,
but the quality that matters (How et al., 2022), as
well as the direct teacher-student interaction
(Degé, 2021). The teacher must see all the details
(finger movement, posture, pose) (Biasutti et al.,
2021). Therefore, finding ways to make this
practice qualitative is an important task for the
researchers.
Methodology
Design
This study was conducted in three stages.
The first stage involved semi-structured
interviews conducted in order to find out the
difficulties music teachers encountered in the
organization of practical classes in music during
the transition to distance education and the ways
they found to overcome them.
The second stage provided for a pedagogical
experiment, which involved the introduction of
the most effective methods and strategies for
organizing practical music classes in the
experimental group.
The third stage involved the evaluation and
comparison of the level of students’
achievements in the control and experimental
groups, as well as a questionnaire survey of
students of the experimental group to determine
the effectiveness of the proposed methods of
organizing practical music classes in the context
of distance learning.
Participants
The sample included 48 Music Art teachers who
work with students majoring in Secondary
Education (Music Art). Of them, 28 participated
in semi-structured interviews and shared their
impressions and experiences of organizing
practical music classes during distance learning.
There were 20 teachers who participated in the
pedagogical experiment. The sample also
included 390 students, of which 193 were
included in the control group and 197 in the
experimental group. All survey participants gave
their written consent. Interviews and
questionnaire survey were conducted online.
Instruments
The study involved semi-structured interviews
that included open-ended questions and a
questionnaire containing closed-ended questions.
Data collection
The degree of influence of the methods of
organizing practical music classes proposed
during the experiment was assessed remotely
using videos recorded by students with their own
performance (singing, playing a musical
instrument). A total of 390 videos were recorded,
analysed and rated.
Analysis of data
All responses were recorded and then coded.
Content analysis was used to process the
obtained data. All responses were divided into
the following categories:
1) problems that arose during practical music
classes in the context of distance learning;
2) strategies and methods used to organize
practical music lessons in the context of
distance learning;
3) technologies used in music lessons during
online learning.
A survey of students of the experimental group
was also conducted using a questionnaire with 10
questions. Each of them was evaluated on a five-
point Likert scale, where 1 is a very low level, ...,
5 is a high level. Reliability was tested by
Cronbach’s alpha. It ranged from 0.74 to 0.86,
which indicates its acceptability. Mathematical
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methods of statistical data processing were used
to analyse the obtained results: Cohen’s kappa
coefficient, Pearson’s chi-squared test. Statictica
application software was also used.
Ethical criteria
Participation in the pedagogical experiment was
voluntary and free of charge. The questionnaire
survey was conducted in compliance with all
ethical standards. There was enough time
allocated for responses.
Results
The results of the interviews showed that music
teachers encountered a number of obstacles
during the transition to distance learning (Table
1). Not all students had a musical instrument at
home. Synchronous accompaniment was not
possible because of the online platforms and the
quality of the Internet connection. It was
impossible to play with four hands, conduct
rehearsals of the ensemble, choir, etc. for the
same reason.
Table 1.
Problems that arose during practical music classes in the context of distance learning
Item No.
Questions
Number of positive
answers, %
1
Was your competence enough to conduct practical music classes online?
64 %
2
Were the online music classes effective?
52 %
3
Was it necessary to change the content of the educational programme in
connection with the transition to distance education?
8 %
4
Was it possible to involve students in online learning?
72 %
5
Was it possible to provide quality feedback?
54 %
6
Did students quickly adapt to distance learning?
86 %
7
Was it possible to achieve the necessary synchronization during the music
class?
6 %
8
Was there a lack of direct interaction with the student when correcting
posture, pose, hand position, finger movements, etc.?
92 %
9
Was it possible to achieve synchronicity in the joint performance of musical
works and songs?
4 %
An analysis of the responses received during a
semi-structured interview regarding the
strategies and methods used by teachers to
organize practical music classes during distance
learning showed that the transition to online
learning made music teachers to analyse the
content of the course and change the forms and
methods of teaching (Table 2). Face-to-face
teaching and learning was replaced by online
video conferences. Teachers had to quickly learn
how to use online educational resources and how
to manage students’ distance learning. They
developed PowerPoint presentations, educational
videos, online tests for knowledge control, etc.
for this purpose. Teachers developed some
educational materials themselves, and also used
publicly available ones, for example, on
YouTube.
Table 2.
Strategies and methods used to organize practical music classes during distance learning
Item No.
Questions
Number of positive
answers, %
1
What educational resources did you use?
created by myself
56 %
online resources publicly available on YouTube
68 %
2
Have you developed new teaching methods that you can use when you
return to offline education?
74 %
3
Has the number of hours allocated for independent work of students
changed in connection with the transition to distance education?
48 %
Students had to compensate for the lack of musical
instruments at home, for example, by performing
rhythmic exercises with improvised materials
available in every home. Students created rhythmic
patterns by clapping, stomping, clicking, hitting
buckets or tables with spoons, using cereal in
containers and the sounds of a mobile phone, hair
dryer, mixer, newspaper, package, etc. Solfeggio
skills were formed during distance learning through
online music reading exercises.
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The inability to achieve synchronicity during
online performance was compensated by
working in small groups. Working in small
groups was also effective because students could
support each other using the Learning by
Teaching method. They also replaced the
synchronous performance of works with a video
recording of the performance of one’s part while
reproducing the records of all others.
Teachers often made video recordings of their
own performance of certain works, while
intentionally making mistakes that students had
to identify and analyse. That was followed by
showing a video with the correct performance of
the work. Professional musicians were invited to
the meeting whenever possible, who conducted
an online workshop.
The teachers had to review the content of the
courses and make them shorter, because online
learning required more time to achieve the
educational goal than offline learning. It was also
necessary to take into account the individual
capabilities of students and the educational needs
of each student.
Besides, students were engaged in self-education
most of the study time. For this purpose,
conditions were created that encouraged to
engage in independent work.
The teachers evaluated the level of students’
musical and performance abilities (singing,
playing musical instruments) based on videos
recorded by students with their own
performance. This enabled obtaining the most
accurate (in the context of distance learning)
reproduction of the sound of the student’s voice
or the sound of the instrument. It was also
possible to assess the student’s posture, pose,
finger placement and movement, etc. Students
had to make video recordings using additional
cameras and tripods. Having received and
analysed the video, the teacher could
demonstrate it during an online meeting and stop
at those fragments where the student made
mistakes, review it together again and find the
right ways to solve problems.
The most difficult thing was to organize the
practical classes of the ensemble. However, none
of the interviewed teachers cancelled these
classes. The vast majority used alternate
superimposition of sounds by students on the
already existing recording of other parts (Table
3). Then they got a unified sounding. They also
each played their part separately, while the others
listened, evaluated and commented. Teachers
and students learned to listen without
interrupting and then give clear, concise and
accurate comments.
Table 3.
Technologies used in music classes during online learning
Item No.
Questions
Number of positive
answers, %
1
Did you use technological devices during online music classes?
96 %
2
Did students actively use music technology in class?
82 %
3
Did the quality of the sound affect the effectiveness of the music class?
94 %
4
What websites and computer programmes did you use during distance
learning?
Viber
74 %
Google Classroom
26 %
Zoom
62 %
E-mail
86 %
GoogleMeet
44 %
Remind
12 %
School Status
10 %
YouTube
96 %
Schoology
8 %
Skype
22 %
5
What support did you receive during distance learning?
free consultations
64 %
webinars
72 %
advice from colleagues
86 %
online forums or Facebook groups
36 %
6
Do you have enough skills to work with virtual musical instruments so
that you can provide support for students when working with them?
56 %
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Zoom, GoogleMeet, Skype, Viber were used for
video conferences. Social networks were used to
exchange information. Special software was also
used, for example, hearing training programmes
(GNU SOLFEGE, Functional Ear Trainer, etc.).
The teachers also used various software. For
example, Sibelius - a programme for editing,
recording and listening to musical works.
Augmented reality technologies and their
connection with musical instruments were also
used. The Simply Piano application was widely
used, which enables to simulate playing the
piano, with the possibility of providing instant
feedback on the correctness of the user’s
performance. It can be applied by users with
different skill levels.
Digital music technologies were widely used in
music classes, for example, electronic musical
instruments. They provided students with an
opportunity to learn how to edit music and create
new sounds. Students showed interest in creating
electronic music of various styles and genres.
Computers enabled students to notate, write and
edit music. Besides, Internet resources made it
possible to listen and read music. The teachers
also used Lola (n.d.), Swing (n.d.), AEC (n.d.)
and Music Paint Machine (n.d.) projects.
Therefore, a pedagogical experiment was
introduced taking into account the previous
experience of music teachers. Teaching and
learning was organized online during the
experiment training according to the following
provisions:
1) organization of video conferences using one
of the online platforms in groups of up to 8
people;
2) use of additional cameras, tripods,
microphones during video conferences;
3) making video recordings of instructions and
samples of the performance of musical
works by the teacher and their subsequent
study by students;
4) video recording by students of their
performance of musical works and further
analysis of the work by the teacher during an
online meeting with students;
5) use of digital musical instruments;
6) use of mobile applications and application
software designed for the development of
practical abilities and skills in performing
musical works.
The conducted pedagogical experiment had a
positive effect on the results of student learning
(Table 4). It contributed to the performance
growth by 6% compared to the control group.
Table 4.
Results of the final control of the students’ performance levels
The average score of students on a 100-point scale
Control group
Experimental group
Before the experiment
After the experiment
Before the experiment
After the experiment
71
76
71
82
The student questionnaire survey showed that the
use of online digital music technologies, mobile
applications and special software during practical
classes contributes to enhancing students’
motivation to study, their involvement,
encourages independent learning. As a result,
their performance increases. During distance
learning, students gained experience working
with ICT tools and learned to work with
educational platforms. They quickly adapted to
online learning. Almost 88% consider distance
education effective. And 56% believe that it
promotes the development of creative thinking.
At the same time, 70% of respondents believe
that distance learning is as effective as traditional
learning for the development of practical skills
and abilities.
The use of mathematical methods revealed that
the weighted sum of squared deviations of the
group means from the total mean, that is, the
intergroup variance d, ranged from 283 to 1465
because of the heterogeneity of the sample. The
latter is connected with conducting a pedagogical
experiment in different groups, which included
students from different higher educational
institutions.
In turn, the root mean squared deviation from the
mean value for the same questions of the
questionnaire in different educational institutions
of the sample was different. The intergroup
variance, which describes the fluctuations of
these groups, and the intragroup variance, which
describes the fluctuations caused by random
factors not taken into account, are unequal, which
indicates that the null hypothesis is not valid.
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Using the Pearson’s chi-squared test for the
results of the questionnaire, it was found that the
values of χ1
2 obtained for the experimental group
are greater than χ12
2 calculated for the control
group. So, it can be stated that there is a certain
connection between the methods used in classes
in the experimental group during the
development of practical skills in music in the
context of distance learning and the acquired
abilities and skills.
The Cohen’s kappa coefficient calculated in the
experimental group was 1.03. This indicates high
effect of using the methods and approaches
proposed during the pedagogical experiment. In
the control group, which was taught using the
traditional method, the Cohen’s coefficient was
0.5, indicating a medium effect.
Discussion
The findings of Cicha et al. (2021) showed that
students felt comfortable with online learning.
Their self-efficacy was high. They could use
computer programmes for learning. The
experiment carried out in this work confirmed the
high interest of future music teachers in using the
latest technologies during online practical
classes.
In the spring of 2020, more than 93% of teachers
completed advanced training in the organization
and management of online learning and acquired
additional skills necessary to increase their
digital competence (Wannapiroon et al., 2022).
Teachers started using digital documents
(presentations, e-books, quizzes) and mobile
applications (Aslan et al., 2021). This study
showed that, most often, teachers used the advice
of colleagues and webinars when organizing
practical music classes online.
Online learning requires more time spent on the
organization of training by teachers and on the
completion of assignments by students (Zuo et
al., 2021). More than 81% of students think so.
Mobile devices (tablets, smartphones) were the
most popular ICT tools used by 67% of students.
Despite the transition to a new form of education,
68% of teaching methods have been preserved,
having been slightly modified. Lectures and
seminars have moved from classrooms to online
platforms. And only 20% of students indicated
the new learning methods such as online quizzes
and real-time comments (Zuo et al., 2021). This
study found that 74% of teachers used new
methods during distance learning.
The disadvantages of online learning include: the
negative impact of this form on the physical
condition of teachers and their students (more
than 67% of students complained of vision
problems), more than 45% complained of feeling
alienated, and about 44% — of poor Internet
connection (Zuo et al., 2021). The teachers also
noted that distance education enables achieving
only part of the educational goals (Gül, 2021) and
does not provide an opportunity to carry out an
effective evaluation of the obtained learning
outcomes. It was proved that educational
information presented in the form of a video
contributes to the achievement of learning
outcomes. However, it was impossible to fully
implement practical activities during distance
learning. Ensembles experienced the greatest
negative impact of the pandemic among all
instrumental learning (Calderón-Garrido et al.,
2021). Music Theory was the least impacted. It
was impossible to implement singing, rhythm
exercises and any group work in music classes
because of the impossibility of synchronization.
In this study, this problem was solved by
recording individual parts.
It was established (Mei & Yang, 2021) that the
use of augmented reality, ICT-based music
learning tools (smart musical instruments) in
classes contributed to the growth of students’
interest in learning, the improvement of learning
outcomes, and the development of mental and
research skills. As this study showed, 56% of
teachers are ready to work with virtual musical
instruments. Teachers of all countries without
exception, even the most digitized, such as
Sweden, experienced problems in the
organization of online learning (Willermark &
Gellerstedt, 2022). The 2020 pandemic forced
54% of surveyed teachers and 45% of their
students to develop their digital competence.
The experience gained during the pandemic
made enabled drawing conclusions regarding the
organization of effective teaching and learning in
emergency situations (Francom et al., 2021). For
this purpose, it is necessary to create a plan for
using the online education in extreme situations.
It is mandatory to have communication channels.
A survey (Francom et al., 2021) showed that 62%
of respondents were provided with computers or
tablets, and 66% had Internet access. It was also
proved that regardless of the subject being
taught, teachers tried to find new methods, which
can be effective during distance learning. Despite
all the difficulties of distance learning, the
teachers are going to use the acquired knowledge
during traditional learning as well.
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This study has practical value, as it complements
the existing teaching methods, which have
already been used during practical classes in
Musical Art, with new ones that can be used in
distance learning.
The research was reduced to the issues of
organization of practical work only for future
Music Art teachers. The peculiarities of
schoolchildren's music education were not
considered. Therefore, further research should
focus on finding alternative ways of organizing
distance learning in Musical Art for students of
general secondary educational institutions.
Conclusions
In extreme conditions, such as natural disasters,
pandemics or wars, ensuring the continuity of the
educational process is crucial. For this purpose,
the search for effective forms and methods of
teaching and learning is carried out. Distance
education is the most acceptable under such
conditions. As this research showed, it can
provide high results with a successful selection
of organizational methods and training methods.
So, it is worth using digital technologies when
organizing practical classes in Musical Art. For
example, digital musical instruments, special
application software. It is also effective to use
video instructions developed by teachers or
selected and used from the list publicly available
on social networks. Asynchrony, which cannot
be avoided when using Internet communication
and technical means, was the main problem in the
organization of group work online. Therefore, an
alternative to conducting synchronous work in
groups was to make video recordings of
individual parts of each performer separately,
and then carry out their subsequent group
analysis by students and the teacher. The results
of this study are useful for teachers of higher
educational institutions when organizing
practical classes in Musical Art in the context of
distance learning.
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