2. Current technology in music education
What is virtual student teaching?
Why virtual student teaching?
What would a virtual student teaching model
“look like?”
Discussion of how virtual student teaching
fits into the professional education
curriculum
3. Surveys sent to 100 recipients via Zoomerang
Question 4:Virtual technology used in student
teaching:
Blackboard 75%
Whiteboard 38%
Skype 62%
Podcast 57%
Asynchronous discussion 62%
Live classroom 12%
Virtual Student Teaching 12%
4. Question 5: If virtual student teaching was
checked, which best describes the environment
used in your undergraduate music education
program?
Remote Interaction 24%
Interactive Avatars NR
Virtual Immersion 12%
Simulation NR
Telepresence 24%
Not Applicable 66%
7. Implied definition from survey: A learning
environment designed with computer software and
encompassing mentor/intern input and feedback
(Hiltz, 1995)
Working definition for VST : A computer-created
sensory setting in which the participant is scarcely
able to distinguish a "virtual" experience from a real
one, and employs computer graphics, sounds, and
images to reproduce electronic versions of real-life
situations (Franchi, 1995)
8. Technology impacts nearly every aspect in cultures globally
and that world is constantly changing and evolving
(Jorgensen, 2003)
The need to keep pace with current trends in teacher
preparation Bauer, Reese, and McAllister (2003)
Permits students to experience “role playing… creating
simulations of physical or procedural processes not readily
obtainable in traditional educational settings. ” (Falloon, 2010)
Three dimensional (3D) technologies have become a fundamental
element of almost all modern computer games…and are also
central to the new generation of immersive virtual worlds, such as
Active Worlds and Second Life (SL). (Dalgarno & Lee, 2010)
9.
10. Characteristics of a flight simulator as well as certain video games
3-D Virtual Environments : Manipulation of virtual objects (Dalgarno
& West, 2010) and Cooperative Object Manipulation and Immersion:
In such systems the users are physically located in the same space
and are able to see each other using see through glasses. Virtual
objects are superimposed on real-world objects. (Pinho, Bowman &
Freitas, 2002)
Videogames such as Jurassic Park and Quest Atlantis
Personalized Human Avatars: Real-world people interact via digital
avatars (Ahmed, de Aguiar, Theobalt, Magnor & Sidel, 2005)
Virtual Role-Playing (MARVIN Project): Students are able to relate
knowledge and understanding via the development of virtual
information environments (story-telling tool) (Falloon, 2010)
12. Two Person Interactive
Student on one control and professor on other
Similar to many existing videogames
Multiple User Environments (MUEVS)
Students on multiple controls interacting within specific educational
and behavioral parameters
Immersive Virtual Reality
Multiple students in head mounted display helmets (HMD)
Avatars…'online manifestations of self in a virtual
world…designed to enhance interaction in a virtual space'
(Peterson, 2005)
Virtual Human Interaction http://vhil.stanford.edu/
13.
14.
15. Implemented as part of the initial field
experience (e.g. blended course)
Prepare and assist future music educators to
handle real-time classroom issues and
procedures
Develop strategies for improved teaching
(i.e. theory to practice)
Contribute to curriculum development for
student teaching
Peer Teaching and Seminars
16. Technology is part of contemporary education.
Foundation of VST: A computer-created sensory
setting in which real experiences are nearly
indistinguishable from "virtual" experiences
(Franchi).
Current virtual technology can be used to initiate a
VST paradigm.
VST can be adapted to a wide variety of learning
environments and teaching/learning venues.
17. Bauer, W. L., Reese, S, & McAllister, P. A. (2003). Transforming music teaching via
technology: The role of professional development. Journal of Research in Music
Education, 51(4), 291-2.
Dalgarno, B. & and Lee, M.J.W. What are the learning affordances of 3-D virtual
environments? British Journal of Educational Technology 41(1), 10-32.
Falloon, G. (2010) Using avatars and virtual environments in learning: What do they
have to offer? British Journal of Educational Technology 41(1), 2-3.
Franchi, J. (1995). Virtual reality: An overview. Retrieved from
http://www.eric.ed.gov/ERICWebPortal/search/detailmini.jsp?_nfpb=true&_&ERICEx
tSearch_SearchValue_0=ED386178&ERICExtSearch_SearchType_0=no&accno=E
D386178
Hiltz, R. S. (1995). Teaching in a virtual classroom. Retrieved from
http://library.njit.edu/archives/cccc-materials/index.php
Jorgensen, E. R. (2003). Transforming music education. Bloomington, IN: Indiana
University Press.
VHIL: Virtual Human Interaction Lab. Retrieved from http://vhil.stanford.edu/
Editor's Notes
There are several key elements linked to the concept of VST which will be discussed in this presentation. We will begin with a survey.
Slide 3 (Current Technology) At this point of the survey, responses suggest that programs such as Blackboard, Whiteboard, Podcast, and Skype are typically a part of extant teacher education programs in music education. These programs involve real people in synchronous or asynchronous venues.
Few respondents indicated VST as part of their present music education program. This may be due to an uncertainty with what is meant by the concept of virtual student teaching or perhaps an inclination to link current technology to student teacher curricula.
Virtual Student Teaching is a fundamental departure from current paradigms in teacher preparation.
Next will be a discussion of what Virtual Student Teaching essentially is and why it might have a place in the professional education sequence.
Slide 7 (What is VST?) Responses from the survey indicate a view of what is currently in practice as similar to the Hiltz definition of virtual student teaching: the use of existing technology for music teacher education. While acknowledging and encouraging the continued use of these technologies, what is proposed here, is a quantum leap from the contemporary paradigm in music education. It has as its genesis the Franchi definition.
Jorgensen speaks of how the Internet and other advances in technology have changed the face of contemporary music education.
Bauer, Reese, and McAllister note that any revision to technology in music education must begin at the collegiate level.
Falloon discusses how virtual reality permits students to experience “simulations of physical or procedural processes not readily obtainable in traditional educational settings.”
Three dimensional (3D) technologies have become a fundamental element of modern computer games…and are also central to the new generation of immersive virtual worlds such as those shown here.
We will now consider some possible models for Virtual Student Teaching by first examining some components that might be included
These components would not all necessarily be incorporated into any one model for VST. They do represent some of the possible Technology used for a particular model. Yet one component is essential to the VST I envision: Fallon’s (2010) concept of permitting students to experience “role playing… creating simulations of physical or procedural processes not readily obtainable in traditional educational settings.’
This is how the students and professors will interact. Note the virtual environment connecting them, through which all communication passes.
Here are several possible realizations of VST. They range from the familiar (Two person interactive) to the somewhat less familiar (Immersive Virtual Reality, to the cutting edge (Virtual Human Interaction). Yet regardless of the type of VST employed, the goal should be to facilitate teacher development by allowing experimentation in a controlled environment.
For example, the virtual learning environment could be set up to include parameters for age, grade level, class size, type of class (e.g., band, chorus, music appreciation, theory), time of day, length of class, frequency of meeting, school size, and classroom management. The curriculum could be customized to fit the areas of emphases determined by the mentor/professor and cooperating teachers; learning sequences and situations could be readily designed to fit the needs of each music education student. Virtual students could thus be programmed to respond in a manner consistent with their given “personality” as learner (e.g. high-achiever, visual/aural learner) as well as individual characteristics (e.g. shy, assertive, detached).
For example, the virtual learning environment could be set up to include parameters for age, grade level, and type of class, among others. Virtual students could thus be programmed to respond in a manner consistent with their given “personality” as learners such as visual or aural learner.
VST could then be customized to fit the areas of emphases determined by the mentor/professor and cooperating teachers.
It should be emphasized that Virtual Student Teaching is in no way intended as a replacement for current teacher education curricula. Rather, it is to be used in a complementary manner to expand teaching/learning offerings.
For example blended courses as envisioned for VST are those which combine a traditional “brick and mortar” classroom with a virtual component. This would allow experience in a “real time” setting with the advantages of a virtual one for preparing lessons and learning strategies in a controlled environment.
Summary
Because technology is such an integral part of education and society as a whole, as educators, we need to both familiarize ourselves with what is current and explore possibilities for the future.
Current technology would seem to lend itself to creating a VST paradigm.
VST can be used to help prepare future music educators by allowing them to experiment with teaching strategies in a realistic environment without the potential disruptions and distractions typically associated with live classroom and rehearsal settings.
In education, we either keep current or fall behind. VST is another resource that will enable us as music educators to do the former, avoid the latter, and guide future music educators into the future
