E-learning for music instruments: Benefits and obstacles

The shift toward remote work and home-based living has sparked widespread interest in learning new skills, whether rekindling a former passion or exploring fresh curiosity. This study examines the evolving advantages and challenges of e-learning platforms designed for mastering musical instruments from one's own home. The research provides a thorough understanding of how e-learning eases access to music education, encouraging users to learn and excel through distance learning applications without leaving their homes. Additionally, it explores the adoption of e-learning outcomes to reduce environmental impact by minimizing mobility and paper use. Greater emphasis is placed on the learning process itself rather than solely on educational content. This change in learning modes has made music education more convenient and accelerated its development for students. In this context, e-learning plays a significant role in the educational landscape.

Introduction

Music education involves both training and teaching in music, encompassing instruction, musical practice, and how these elements combine to develop disciplined musical habits. Lessons typically guide students with information or help them tackle more significant tasks. Two distinct categories of electronic content have been identified: information-based content, which conveys facts to the learner, and practical-based content, which focuses on developing high-level competence and allows learners to build their abilities. Both types are relevant to music education. Music theory draws on knowledge areas like music history, ethnomusicology, psychology, and music sociology, among others. E-learning applied to knowledge-based information significantly enhances teaching environments and allows students to interact more effectively with instructors and peers.

The central objective of music plays a crucial role in discipline, since music is essentially a creative achievement. This is precisely why e-learning holds such importance in this field. The primary benefits of e-learning stem from advances in internet technology and multimedia systems. Numerous ever-evolving technologies have been developed to support e-learning. Electronic learning encompasses a wide range of activities, including computer-based strategies within classroom-like environments and delivery methods that extend teaching resources beyond the classroom walls. In music education, these delivery approaches include integrated education, distance learning, visual education, and collaborative music activities.

Literature review

E-learning as a strategy for improving access to music education
Dr. Beatrice A. Digolo, Miss Elizabeth A. Andango, and Mr. John Katuli note that in Kenya—as in many other nations—opportunities to study music remain limited. Many students who wish to pursue further education cannot obtain a degree, and music service workers often struggle to extend their studies beyond campus due to insufficient resources for off-site use. However, a pressing need exists for expanded music training for many individuals who lack access to university-level study. Distance education offers two potential solutions to this problem. Service providers are exploring opportunities to deliver online music education, thereby reaching more learners. This research argues that e-learning provides an effective solution.

Assessing a music e-learning resource: The participants' perspective
Frederick Seddona and Michele Biasutti examined the effectiveness of an electronic reading music resource designed to teach students how to sing the twelve-bar blues on a keyboard. The study also gathered participants' views on the unit, refining their thinking about learning. Learners' opinions on the role of the internet educator in e-learning environments were also explored. Video recordings of participants interacting with the resource were analyzed using an analytic process. Individual interviews were conducted after the study sessions concluded.

Epiano: A case of music education via the internet in rural Zambia
Kristin Shoemaker and Gertjan van Stam defined two main objectives for their research: first, to evaluate the effectiveness of piano lessons delivered in two distinct geographical areas; second, to provide insights on the benefits and challenges of sustained melodic piano learning, whether used alone or combined with other approaches.

Music and arts e-learning at Graz
Manfred Rechberger observes that computer-based resources and applications are gaining importance as new media programs emerge in music. Compared to conventional learning methods, courses at the University of Art rely heavily on visual media. Many modules include content that conveys creative processes and learning environments. The flexibility that e-learning offers is a key benefit, particularly for students handling a diverse range of multimedia-rich reading courses. This research explores forums, blogs, wikis, and other online activities that encourage music readings and real-life music stories drawn from news discussions. The analysis returns to a critical learning scenario: creating a musical instrument and making video recommendations.

Reflections on music therapy training within e-learning education contexts
Imogen Nicola Clark and Grace Anne Thompson highlight the transformative impact of rapid growth in e-learning technology on the availability and delivery of university education. In Australia, e-learning enables students living in remote regions to study music. Students in the Master of Music Therapy program at the University of Melbourne can choose integrated learning courses that combine physical and virtual instruction. This article focuses on integrated learning experiences for music therapy students and educators at the University of Melbourne. The authors describe a music therapy program in detail, using a single topic to illustrate how electronic learning is managed. They discuss the Integrated Student Teaching course, identifying major challenges such as teacher-student relationships, general information, student-to-student instruction, curriculum design, and teaching approaches. Responses from student assessments are examined, explaining what makes reading enjoyable for students and effective with teaching staff. Finally, they consider the future of music therapy education in an online forum, weighing the challenges and benefits for students, therapy training, and future educational institutions.

The concept of e-learning in music education

Music education includes training and teaching, incorporating both theory and practical application. The two interact effectively to enhance music's role as a distinctive discipline. While theory forms a minor component, meaningful interaction between theory and practice is essential for understanding, discovery, and achieving better results. Both theoretical and practical elements are important and valuable in music education. Worldwide, the music component at all educational levels is typically very small for several reasons. First, most vocal and instrumental teaching focuses on skills aimed at improving practical proficiency. As students acquire performing or singing skills, specialized teaching attention becomes necessary. Second, the notion of giftedness or talent heavily influences who decides to study music, often creating a perceived "difference" that attracts more students toward certain groups. Additional factors include the logistics of equipping music classrooms and, sometimes, requiring students to purchase their own instruments.

As in many countries, access to music education remains restricted, with many interested students unable to pursue formal programs. Music service providers often find it difficult to expand their offerings outside institutional settings due to low profitability. Yet the demand for professional music instruction among people lacking university-level study opportunities is undeniable. Service providers are accordingly evaluating opportunities for online delivery. This research concludes that e-learning offers an effective solution to these problems.

Content

E-learning lessons are designed to guide students with information or help them accomplish specific tasks. Two content types have been identified: information-based and practice-based. The first type transmits knowledge to the learner, while the second involves developing a learning ability that lets students build a career. Both apply to music education. Music theory is knowledge-based and includes music history, ethnomusicology, psychology, and music sociology, for instance. E-learning programs built on knowledge-based information can greatly enhance instruction and allow students to learn from international educators.

The practical dimension of music creates its disciplinary character, since music is fundamentally about doing something. An electronic learning tool for this practical side is critical, yet it also presents challenges. This study examines accessible information to assess e-learning applications for sharing practice-based information in music education.

Methods: Participants and procedure

A diverse research design was implemented. The sample included 220 students (155 women and 65 men) with an average age of 26.57 (SD = 8.46). Participants came from eight universities out of a possible twelve that offer music programs in Romania. Using simple sampling, the questionnaire was distributed via the Google Forms app and shared online on Facebook pages and groups for music students. University instructors from various institutions were asked to circulate the request among their students. The data used in this study was sourced from Kaggle.

The online questionnaire ran during the second semester of the 2020 academic year and remained open for one month. No identifying personal information was collected, and participants did not log into their Google accounts, ensuring anonymity. Participation was entirely voluntary, and written consent was obtained from each participant before data collection commenced. The study objectives, confidentiality of personal data, and relevant ethical considerations outlined in the research guidelines were explained to all participants. Those who consented—by reading, understanding, and agreeing to all information—accessed the questionnaire. Those who declined consent were not given the completion link.

Measures

Student satisfaction with online learning and teaching was measured across three types of didactic organization: individual tasks, group activities, and theory. Three items addressed each category, asking participants how they perceived the individual, collective, and theoretical components. Responses were recorded on a five-point Likert scale ranging from "completely useless" to "very useful." Two additional factors measured overall satisfaction with online learning and the e-learning platforms used for didactic activities, rated on a five-point Likert scale from "totally dissatisfied" to "completely satisfied." One item assessed students' perception of how online learning contributed to their preparation as musicians, using a five-point Likert scale from "very little" to "very much."

The time spent on individual, group, and theoretical learning activities before the COVID-19 pandemic and during the pandemic was also measured. Students' perceptions of course content and online learning methods were assessed with 17 items divided into study topics (such as music history, music theory, music forms and analysis) and group subjects (orchestra, choral ensemble, conducting, etc.). These items were rated on a five-point Likert scale from "strongly disagree" to "strongly agree."

The perceived usefulness of online learning methods in music education was evaluated using a questionnaire of 16 items. Eight items measured positive aspects of online learning (e.g., instructors are more engaged, I have more time to study), with a Cronbach's alpha of 0.90. Eight negative items (e.g., I feel unmotivated, I have too many tasks at home) yielded a Cronbach's alpha of 0.79. All 16 items were rated on a five-point Likert scale.

Attitudes toward e-learning programs used during the COVID-19 pandemic were assessed with 15 items grouped into two categories. Enjoyment (positive attitude) included 7 items with a Cronbach's alpha of 0.88 (e.g., using IT seems interesting, I am passionate about online learning). Dislike (negative attitude) comprised 8 items with a Cronbach's alpha of 0.87 (e.g., I do not like being distant from the teacher, I receive no answers).

Tolerance of uncertainty was measured using the short version of the Intolerance of Uncertainty Scale. The scale measures responses to uncertainty, ambiguous events, and the future. Twelve items rated on a five-point Likert scale from "not at all like me" to "completely like me" were divided into two dimensions: prospective anxiety (7 items, Cronbach's alpha = 0.89) and inhibitory anxiety (7 items, Cronbach's alpha = 0.87).

Advantages and challenges of content delivery in music education through e-learning

Advantages

Electronic learning creates diverse resources that enhance the integration of digital techniques with high-quality standards and delivery methods capable of moving traditional instruction beyond the classroom. For music education, various delivery services include blended learning, distance learning, virtual learning, and participatory music activities. There is also a growing awareness of the need to establish Virtual Learning Environments that support distance and open-learning services both within music departments. Such environments create opportunities for those who can locate online sources offering part or all of their music instruction remotely.

Comprehensive online supports help students learn from home, allowing them to study while also conversing with online tutors. Similarly, teachers can interact with their students even when away from the institution, such as when at conferences or other professional engagements.

E-learning strengthens interactions with other music sectors worldwide and makes new ones available. Discussion forums, blogs, wikis, and other engaging online activities generate endless opportunities for sharing information. Collaborative applications encourage dialogue between students from different institutions. Corporation between educators also fosters cross-cultural research programs where scholars from various countries and continents conduct joint research across different fields.

Challenges

Despite abundant growth opportunities, adopting and implementing e-learning courses presents challenges that can significantly affect their effectiveness. The following obstacles have been identified with regard to using e-learning for music education:

1. Resistance to abandoning traditional practices: Years of established convention create reluctance to change. E-learning differs substantially from long-standing methods, leading some to hesitate.
2. Expertise, device ownership, and time management: These factors help determine how readily the e-learning perspective is accepted and used.
3. Technology hesitation: Educators need a minimum level of technical skill to distribute e-learning materials effectively. Staff working with online students must comprehend the content and be reasonably or highly proficient in computer and internet use.
4. Hardware and software requirements: Installing e-learning programs demands that students have personal devices and appropriate software. Because e-learning often involves manual activities—whether done concurrently or separately—music as a practical discipline requires specific tools for writing and recording. Therefore, access to a comprehensive range of devices or online-based services is essential.
5. Time demands for content development: Unlike traditional hands-on learning, the amount of time needed to create and deploy electronic content can become a barrier to its adoption. Content designed for simultaneous handling alongside in-person instruction necessitates careful time management.

Slow dial-up connections, lack of fast internet, and limited resources also hinder content delivery and can disrupt the transfer of distance learning courses.

Despite e-learning’s many advantages, there is a risk that students may not attend face-to-face or online classes regularly, preventing them from fully benefiting. This issue is highlighted in Hebert’s Sloan Report on Music Education (2007), which notes that students often report lower satisfaction with online studies compared to classroom-based learning.

Benefits

With pre-recorded video, audio and visual quality can be tightly controlled — determined by the recording device used, not by internet speed. Consequently, timed videos have become a preferred method for improving sound and picture transmission. Students can pause, rewind, or review any section of a video as many times as needed, enabling self-paced learning.

Because converted videos can be downloaded from the internet, learners can access already recorded content when VSAT connections are weak, without impacting other web users in a rural community. This means the reader can watch the video without needing an active internet connection; as long as power is available, they can continue working with the downloaded material.

Time-shifted instruction reaches a much larger audience than real-time sessions. When a student creates and posts a video on a social networking platform, it can be shared with far more viewers than the instructor alone could reach. Teaching methods allow the creator to choose how the video is distributed.

Conversely, the re-recorded format lets teachers share their videos with a wider audience. In this way, educators can compile video resources shared among student groups, eliminating the need to relay information from person to person about scheduling.

Producing a video proves worthwhile for both student and teacher. Besides mastering recording and presentation skills, the student develops practical abilities and completes numerous required tasks.

Results

Study outcomes have been positive, showing this new field of music research education is operational. Flexible learning is appropriate, but each communication method carries important consequences. Successful learning combines both real-time (instructor-led) and time-shifted (self-guided) formats. Results of online e-learning in music research have been encouraging — students continue improving their musical abilities and, in class, connect with artists from other countries.

Certain obstacles must be addressed, including resources and time. Some equipment and materials are needed for this type of learning, and obtaining them can pose difficulties. Moreover, this approach requires adults to invest effort in initial setup and ongoing technical support. Ideally, an adult with basic device knowledge should be available to help if needed.

Conclusion

Online education can be considered inclusive because it offers a wide range of learning opportunities. It is ideal for adults who do not want to return to campus life, for full-time workers with busy schedules, and for people managing hectic family responsibilities. The flexibility it provides is crucial for those unable to participate fully in traditional study.

Flexibility, as a key component of online learning, also offers various professional development opportunities — helping people build their knowledge and skills or discover new ones. It opens possibilities linked to better job prospects or personal fulfillment. Similarly, flexibility is a major factor for teachers choosing online over classroom-based lessons, saving time, money, and energy without reducing the level of knowledge transferred.

Participants in the platonic study who served as educators expressed enthusiasm when evaluating online education and would definitely recommend it to students with similar perspectives. Real-time educators involved with equipment studies, however, remain skeptical because they often face technology- and equipment-related problems. Despite these difficulties, they support online courses because they provide educational opportunities equal to those of traditional formats.

Online education continues to evolve and expand across many academic disciplines. Since the first online study launched, significant progress has been achieved, and many features have been refined in educational, social, and psychological terms. What, then, is the next challenge for online music learning? These programs rely on technology, and advances in online teaching mean faster internet speeds and, consequently, greater accuracy in subjects requiring music performance. They also promise better-designed systems that reduce the social and psychological gaps created by distance education.

Additional educational efforts are needed to enhance online music learning. In Greece, no higher education institution currently offers online music courses — excluding the country from competition for excellence in music education and pushing Greek-minded students to study online abroad. Further research into online music education will enable programs to expand, reach higher teaching levels, and inform many disciplines within the performing arts.