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Elementary Music Education in the Era of Remote Teaching – Constraints and Prospects for Development

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Elementary Music Education in the Era of Remote Teaching – Constraints and Prospects for Development International Journal of Research in E-learning Vol. 6 (2), 2020, pp. 1–14 https://doi.org/10.31261/IJREL.2020.6.2.03 Mirosław Kisiel University of Silesia in Katowice, Poland https://orcid.org/0000-0003-2002-0116 Elementary Music Education in the Era of Remote Teaching – Constraints and Prospects for Development Abstract In the discourse undertaken, an attempt was made to indicate the limits and perspectives for the development of music education of distance teaching. The specificity of music education based on experience, emotions in action, a creative approach to an artistic creation and expressive action requires special attention in this regard. The teacher is expected to develop a new strategy for action, which in the existing educational situation will result in an increase in students’ interest in music. Obtaining satisfactory results should be seen in the use of teaching methods and forms appropriate for the given situation and means of communication. K e y w o r d s: childhood education, teacher, music, distance learning. At present, as technology evolves, the education in Poland is changing. The slow but systematic presence of e-learning as a new teaching method in our country has become popular and necessary (Hyla, 2012, p. 20). This method has proven to be the only possible effective way for teachers to work during the world pandemic of COVID-19 and the nationwide lockdown. From day to day, schools had to shift to a new teaching and learning technique and use the available electronic media and communication platforms. Music education, which deals with fleeting and IJREL.2020.6.2.03 p. 1/14 Mirosław Kisiel abstract values based on impressions, creations, experience and skills training, has also been included in the subjects which underwent such a change (Ruokonen & Ruismäki, 2016, p. 109). The child who needs support, motivation, peer-to-peer contact, role model as well as reinforcement of positive reactions and behaviour styles is crucial throughout the entire music teaching process. Likewise, the teacher and the parent play significant roles, as they are not only guardians but also edu- cational partners in the early school education stage. Children as Recipients of Music in Elementary Education Children observe the world through a direct perception of the reality which sur- rounds them, whereas media provide an indirect way to know various phenomena, processes and facts perceived and communicated by other people (Juszczyk, 2002, p. 16). Children commune with virtual “reality” every day, devoting more and more time to it. Young people increase their media experience by spending lots of time with their computer, tablet or mobile phone. In many cases, these devices influence the creation of behavioural patterns in children, form their tastes and opinions and become not only a learning environment, but also an upbringing environment, affecting the recipients’ activities (Jorgensen, 2003, p. 63). Music in early school education is an important part of the educational and didactic process. Its place at the level of early childhood education is different; it is dictated by the needs and capabilities of the individual, and to some extent by the expectations of teachers, schools and parents (Kisiel, 2012, p. 20). Music, singing and dancing in elementary education stimulate the overall development of the student, while at the same time support young people in preparation for participation in a broadly understood culture. The tasks of the music class de- scribed in the related literature are aimed at arousing long-lasting artistic interest among the young generation in the future. The overall developmental value of music is also significant; it stimulates activity, improves memory and concentra- tion, trains persistence engagement and observation. Music also helps people to express their feelings, practise motion coordination and good body posture. By stimulating creativity and imagination, it develops communication skills. The role of the school and the properly qualified teacher is extremely important in this area (Green, 2006, p. 101). In many cases, teachers act as the only music educators to bring a child into the world of artistic values. It is also important for the teacher to be the organiser of the didactic and educational process, the music animator and the trainer for acquiring skills in basic forms of musical activity (Weiner, 2010, IJREL.2020.6.2.03 p. 2/14 Elementary Music Education in the Era of Remote Teaching… p. 33). Professional teacher-oriented performance will only produce the expected results, if the teachers carry out their tasks as a specific musical dialogue in a multi-dimensional communication channel. The core curriculum is the basic educational document that sets out the pro- cedures in the area of music education in elementary classes (Journal of Laws, 2017, pp. 44–46). The content of the curriculum in this area comprises five sec- tions. The first section “Listening to Music” is about receiving and identifying sounds, responding to music signals, distinguishing sounds and voices, listening to and analysing simple songs. The second section “Musical Expression” contains guidelines for: humming and singing children’s songs, creating children’s own melodies, attaching importance to voice emission and performing some of the recommended songs, including the Polish national anthem. The third section “Mo- tion Improvisation” proposes the presentation of musical and non-musical content with moves, the creation of musical and motion choreographies as well as learning the steps of a chosen dance. Music education is also practising music understood as: the ability to use school percussion instruments, creating the children’s own sound toys, experimenting and creating musical accompaniment to songs, motion, games and learning to play melody instruments: the chime, Western concert flute and flageolet. The last section refers to the skill to “record sounds.” It includes learning different ways of recording sound and music, saving simple rhythmic and melody diagrams while playing through the use of pictograms, colours, numbers and simple notations. Musical education, which improves the recipients’ listening perception, emo- tional sphere, aesthetic sensitivity and creative expression, is recommended for use in integrated education in the daily curriculum. The core resources in a teaching and educational institution, in particular classrooms equipped with modern media and teaching materials, play an important role in the organisation of the educational and upbringing process. They make it possible for teachers and students to carry out more effectively the process of acquiring music skills in terms of reception, recording sound and music, seeking valuable artistic presentations and informa- tion to enhance their knowledge of music. Multimedia can be an excellent teach- ing aid, if used reasonably. Using them should follow from the theory of learning music based on experiencing, acting and learning (Kisiel, 2016, p. 109). The use of multimedia in elementary education can make a significant contribution to: facilitating the combination of learning with playing, increasing motivation for learning and allowing individual learning. Key multimedia features are as fol- lows: activating/motivating, cognitive/creative, practising, control, upbringing and therapeutic (Juszczyk-Rygałło, 2013, p. 80). In pedagogical practice, the teacher generally uses methods that make children actively participate in the teaching and learning process. The combination of interdisciplinary, pedagogical, psychologi- IJREL.2020.6.2.03 p. 3/14 Mirosław Kisiel cal and neurodidactic approaches shows that the basis for obtaining information is an active exploration, where the senses working together in registration of the sensations play a crucial role (Gołaszewska, 1999, p. 29). This also applies to those areas which we know through the media. In such a recognised perception, there are intertwined periods of activity, reception, observation and experience. Methodology of Research The conducted research was of a qualitative nature, the text includes the quoted statements of selected respondents and the results of the Internet query (Flick, 2008, p. 36). The aim of the study was to show: the state of music education in grades 1–3 following the introduction of the lockdown, constraints and prospects for develop- ing methods and forms of work carried out in remote teaching of music and the results of education and professional satisfaction with the performance of such work. The purpose of the query was to present information on the music education during distance learning. The test sample was selected in a targeted manner as a non-random selection of respondents. The survey was completed by teachers with different musical train- ing background, various experience in working with media and multimedia instant messaging clients as well as different professional seniority.1 The data presented in this chapter were obtained by a partially categorised interview (Babbie, 1992, p. 327). The analysis of the collected data is presented in the following parts of the work. Teachers and Students in the Face of Remote Teaching – Search for Data Rapid social changes, mainly caused by the World Health Organisation’s declara- tion of the COVID-19 pandemic resulted in perturbation in Polish education. It was due to the regulations by the Minister of National Education published in the 1 The survey was conducted in July and August 2020 among early school education
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