The Multimedia Technologies Applications indd

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55
Live Music and the Internet in Music Education 
at Primary Schools
Petr Hala
The fi nal report from the specifi c research project MUNI/A/1025/2009 – Research 
into the Use of Multimedia Technologies in Music Education has brought – besides 
a number of negative foundations – even some positive ones that could be used for 
the formulation of new methods of using multimedia technologies in education.
‘In the recent decades, certain ambivalence has been typical for the music pedagogy 
and education in relation to the surrounding media or virtual world. It needs to keep 
up with the changing social functions of music, it develops in the world absolutely 
fi lled up with music that is omnipresent and accompanies people everywhere, mainly 
due to the media, and it often serves just as pleasant acoustic atmosphere or a barrier 
against the noise of the outer world, and children are ‘educated’ by this kind of music 
information virtually from their birth; this music infl uences them before they start 
going to school as well as during their school years.’(C
RHA
- J
URČÍKOVÁ
- P
RUDÍKOVÁ
2010: 247). Most of the empirical music-sociological studies support this claim and 
conclude that by saying that taste and value attitudes to music, interests and music 
preferences are formed mainly under the infl uence of the media, and in fact, they 
are in confl ict with the objectives and aims of music education. What ensues from 
the above is that students may be interested in such a style of teaching in which 
they could listen to music on the Internet under teacher’s direction. The access to 
the internet is quite frequent
1
(Ibid.: 83), and further improvement is expected in the 
future. Nowadays, 63,35% of teachers that use the internet for the teaching purposes 
search recordings on the Internet (Ibid.: 85).
‘A typical student likes music, his/her relation to music is shaped by the family, 
but an important part is also played by the radio, internet, friends and school.’ (Ibid.: 
228) The declared positive relation to music and general popularity of the internet 
among pupils may become a cornerstone for using the internet, or some of its sites, 
in music education. As the fi nal report (FR) shows, the most frequently used musical 
instrument in music lessons is the piano. 82% of respondents among teachers and 
70% of respondents among pupils confi rmed the usage piano in classes (Ibid.: 237). 
This means that connecting of listening of music on the Internet with life interpreta-
tion on the piano is practicable in most cases. For the specifi c intention of using the 
Internet in music education described below, the possibility of using the piano is an 
1 
The affi rmative answer of the question ‘Do pupils use the Internet?’ was 41.11% of all respondents.

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ALA
asset, not a precondition. What is also benefi cial for this intention is the fact that ‘... 
the largest percentage of respondents say that their music teachers master playing a 
musical instrument well and are good at singing. Almost half of pupils believe that 
their teachers are well literate in the classical music’ (Ibid. 149). Moreover, pupils 
mainly value in teachers their ability to sing well and play a musical instrument 
(Ibid.: 150). The majority of respondents – 66,06% (Ibid.: 161) – claim that their 
music teachers play the piano in music lessons.
The results named above show that the contact of pupils with life music in a way 
of controlled listening is desirable and will not be pre-rejected by pupils. Especially 
provided that the interpretation is in the hands of teachers themselves.
Although pupils unequivocally prefer popular music (Ibid.: 228), we can consider 
the implementation of the following method. Pupils will compare various interpre-
tations of one and the same piece of music, or an adaptation of the same piece for 
another instrument. It is sure that the selected piece shall be comprehensible to pupils 
and that its length shall not exceed average recipients’ concentration spam. In this re-
spect, the site www.youtube.com may become a great source of recordings, since not 
only professional interpretations of short pieces, comparing of which would clearly 
go beyond the pupils’ capabilities, but also a range of amateur performances could 
be found there, some of which are even disastrous, and, moreover, there are various 
adaptations of the original lyrics. Searching and fi nding of differences may lead to the 
development of controlled listening to music, which is a prerequisite for understand-
ing of the meaning of the music message. If possible, an interpretation by the music 
teacher could be added for further comparison, too.
As a demo, we selected a short piece by Robert Schumann “Stücklein op. 68 
No. 5” from the Album for the Young. It is a very short piece that might be interpreted 
even by a teacher with lower mastering of playing the piano. A teacher’s interpretati-
on could introduce the following analysis.
http://www.youtube.com/watch?v=CprIdis6gZM&feature=related
A high quality interpretation, quality musical instrument. The logical agogics, 
adequate dynamic structure and keeping the same pace during the whole piece may 
be emphasized to the pupils who play the piano or another instrument – provided that 
such ones are present.
http://www.youtube.com/watch?v=y-vrkhZwwqM
Quality interpretation on Clavinova electric piano. Compared to the previous one, 
slower pace may be observed. Exaggerated agogic transmissions that might be heard 
by more sensitive pupils are worth mentioning. It is advised to ask students about 
their opinion of each version. A question whether students can hear the difference in 

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tone between the piano and the electric instrument interpretation may be added, too. 
http://www.youtube.com/watch?v=U7EGEp7sLzM
Serious keyboard interpretation. The fact that there are minimal agogic changes 
may be emphasized here – this could be “translated” to students as “an absence of 
feelings”. The character of the instrument determines a limited possibility of dynamic 
changes, and because of the fact that it is too easy to press the keys on keyboard and 
as the keys are really sensitive, we could observe a certain rhythmical imbalance in