Southwestern University (UNITED STATES)
About this paper:
Appears in: ICERI2009 Proceedings
Publication year: 2009
Pages: 2276-2279
ISBN: 978-84-613-2953-3
ISSN: 2340-1095
Conference name: 2nd International Conference of Education, Research and Innovation
Dates: 16-18 November, 2009
Location: Madrid, Spain
The speed at which things change in the information age is so dizzying that reflection upon the best employment of new resources is often neglected. I believe that this has been the case with the use of videographic resources for teaching music. The opportunity for the intentional and well-coordinated use of video as a teaching has arrived and yet has still been largely unexplored at the personal level. We have arrived at the point the point where music teachers can easily access the technology of bringing video into studio teaching in a variety of ways, but most have not yet embraced the idea. The reasons for this are many, but relate mainly to either a perceived lack of the usefulness of this technology or a belief that it is too complicated to be used in an efficient manner. This article will examine the issues surrounding this topic and outline the reasoning for its inclusion music studios in both abstract and practical ways and suggest best-practice models its use.

Usages: Traditional and New
Videographic resources can be used in teaching applied music in a variety of ways, several traditional models are explained below:
A tradition of the use of video as an evaluative tool for performance has been well established. An emphasis upon consideration of the instrumental or vocal technique of the student is the norm, providing a context by which the student will be able view their performance with greater objectivity. While the tradition exists, many teachers are still hesitant to use video in this way because of a belief that it is cumbersome to use. It is also common for video to be used in the evaluation of performance with respect to stage presence and musical interpretation. It is very effective in the evaluation of stage presence but often lacking in that of interpretation because of the generally low quality of audio in most video recordings. This article will offer practical and simple suggestions for improvement in this area. Video has also been used an expansion of the role of listening to outstanding performances of the students own repertoire by the inclusion of a visual component. Emerging uses of video represent very exciting new areas for teaching music: These same video sharing resources also offer teachers and performers an opportunity to fundamentally change the way in which teaching and learning materials are delivered to students. Because learning to make music requires an environment where repetition and the adjustment of speed can be easily altered, new pedagogical resources for music should be created with this in mind.

New Resources
New types of pedagogical videographic resources can be created with readily available and easy to use technologies. Such resources might include animated scores, up close views of technical lessons, models of proper practicing techniques, lessons on style and interpretation to name but a few, and can all be done with high quality audio and video in simple studio settings. This article and presentation will explain the practical steps in creating such materials as well as offer model examples of such works.
This article and presentation will also strive to encourage sharing and collaboration in academic communities in order to establish best practices and to make a wealth of resources such resources that should be available to all.
innovation, technology, best practices.