The experience of music teachers from Portugal and Germany during the COVID-19 pandemic: hard times and creative solutions

1 Michael Pabst-Krueger / Annette Ziegenmeyer (Editors) Perspectives for music education in schools after the pandemic A joint publication by authors of the network of Music Teacher Associations in Europe 2 Perspectives for music education in schools after the pandemic A joint publication by authors of the network of Music Teacher Associations in Europe (MTA) Preface Annette Ziegenmeyer & Michael Pabst-Krueger (Germany) How and what can we learn from each other in times of a worldwide pandemic that effects the education system as a whole and music education in particular? The global outbreak of the coronavirus pandemic showed that on the one hand people had to learn quickly how to manage how to interact and how to organize learning processes within a new framework. On the other hand, it became clear that it had never been so easy to look beyond the borders of one’s own country and to get connected: The sudden need to interact via video conferencing (a possible tool that existed already before though) opened new doors to exchanges on a national and international setting. Everybody was participating in a world-wide learning process. Since 2016, the Network of Music Teacher Associations in Europe (MTAs) under the umbrella of the European Association of Music in Schools (EAS) has exchanged and developed ideas and strategies on political work for music education in schools throughout Europe. Due to the outbreak of the pandemic, the annual meeting in 2020 had to take place on a video platform. The participants were very happy to exchange their recent experiences in teaching music during the pandemic and many forward-looking ideas for the further development of musical education were exchanged during these meetings. Furthermore, the idea arose to bring all these different perspectives from the different countries together in a joint publication. This led to the idea of this joint publication entitled Perspectives for music education in schools after the pandemic for which representatives of European MTAs were invited to bring together the different experiences and perspectives that could be drawn from these challenging times during the pandemic (which is still going on). Almost all articles were written by teams of authors from different European countries which made it possible to get a broad perspective on the specific aspects that became relevant during Corona. The first article focuses on reactions and good practices for music teaching in schools from three countries: Germany, Greece and Turkey. The authors Alexis Kivi, Dimitra Koniari, Sezen Özeke and Hatice Çeliktaş analyze and compare how teachers reacted in different phases of the lockdown. In their different research projects, they focus on challenges of online and face-to-face teaching under the hygiene routines and analyse positive and negative effects of online teaching. 3 The second contribution presents one of the last articles by Irena Medňanská from Slovakia who unfortunately passed away shortly after drafting her contribution. In the article, Medňanská reflects on the challenges of teaching music in schools in Slovakia during the pandemic which were additionally impaired in many places by difficult technical and social framework conditions. Her assistant Mária Strenáčiková, Jr. helped us edit the article for this publication. Third, Manuela Encarnação, Maria Helena Vieira and Georg Brunner bring together Portuguese and German perspectives and discuss results of their research on approaches and benefits of online teaching at schools and universities. The fourth article by Benno Spieker and Morel Koren describes the general potential of digital media, focusing on music education in the Netherlands and Romania. As an example of best practices in online teaching and practicing Solfege, a platform called Solfy, which is already operating in its BETA form in Romania, is described in this article. Finally, Mitsi Akoyunoglou (Greece) and Nataliya Domnina (Switzerland) draw their attention to the question of how to reach socially disadvantaged students in a hybrid music classroom and present various approaches that can be used by music teachers to promote an all-inclusive music class. Based on the Universal Design for Learning (UDL) the authors offer an educational framework guided by principles that promote equity and access to education for all. With this publication and the ongoing exchange within the MTA-network, we want to encourage music educators in all European countries to get connected, to look beyond the borders of their own country, to learn from each other and seek to solve the challenges of these pandemic times together. The various perspectives brought together in this rather small publication shows that it is worth taking a step back from one’s own experiences and to open up for wider perspectives and new impulses. As the editors of this joint publication, it was a pleasure for us to work together with a team of highly engaged colleagues, to bring together their expertise and work on perspectives for music education during and beyond the corona pandemic. We would like to thank every one of our authors very much for their commitment, their dedication and their thoughtful collaboration. (Luebeck & Hamburg, Germany, 15 th March 2021) 4 Content Alexis Kivi (Germany), Dimitra Koniari (Greece), Sezen Özeke (Turkey), Hatice Çeliktaş (Turkey): Reactions and good practices to new corona conditions for teaching music in schools by music teachers in Germany, Greece, and Turkey …...…….. 5 Irena Medňanská (Slovakia), Mária Strenáčiková, Jr. (Slovakia): Reflection on teaching music in schools in Slovakia during the pandemic and description of online teaching ………………..……….………………………………………………….. 18 Manuela Encarnação (Portugal), Maria Helena Vieira (Portugal), Georg Brunner (Germany): The experience of music teachers from Portugal and Germany during the Covid-19 pandemic: hard times and creative solutions ………..……………………..28 Benno Spieker (Netherlands), Morel Koren (Romania): Perspectives for music education in schools after COVID-19: The potential of digital media …………………………………………………………………….…..…………..49 Mitsi Akoyunoglou (Greece), Nataliya Domnina (Switzerland): “Corona-lessons” for reaching socially disadvantaged students in the hybrid music classroom ………………………………………………………………………….………….61 Authors and Editors ……………………………………………………………………………………………………..72 28 The experience of music teachers from Portugal and Germany during the Covid-19 pandemic: hard times and creative solutions Manuela Encarnação & Maria Helena Vieira (Portugal), Georg Brunner (Germany) Abstract The effects of the Corona pandemic that started in March 2020, in music classes all over the world most certainly present similarities and also national or local differences. Several months after the outbreak of the virus, music teachers started realizing that the same phenomenon that was isolating them and separating them from students and colleagues was also bringing them closer together in different ways, in digital ways, and was also generating new contacts across borders and across languages. Following the suggestion of the network of Music Teacher Associations in Europe three researchers from Portugal and Germany decided to take a closer look at the changes brought about by the pandemic in music classes in both countries (Portugal: schools; Germany: universities). The goal was not so much to compare changes in similar groups and classes, but to explore the deeper meaning of those changes and the reactions of the Portuguese and German teachers by putting them into perspective: an international perspective. Introduction The two studies presented here focus on music educators during the corona pandemic in summer 2020. Our explorative goal (Stebbins, 2001) was to report the experiences of music teachers during the pandemics in different countries (Portugal and Germany), in different levels of studies (Basic/Secondary and University levels), and in different types of schools (general and specialized). The Portuguese study focused on a group music subject offered at the Basic and Secondary levels in specialized schools as "Formação Musical" and at the Basic level in general schools as "Educação Musical"; the German study focused on music teaching at the university level, with emphasis on special professional practice areas such as individual vocal/instrumental tuition, practical piano lessons, ensemble conducting, music making in class, ensembles, and didactic events with practical components. In both studies the aim was to find out what kind of management systems and video platforms were used, how synchronous and asynchronous teaching was designed, what concrete media were used in teaching, how communication and feedback took place and, above all, what educators see as positive effects of online teaching and what they would like to integrate into their teaching in a post-pandemic period. The results show similar approaches by the teachers in both countries, but differences in the levels of studies, types of schools and school subjects, and also some specific solutions for certain subjects. 29 Above all, the results show that all educators faced these hard times creatively and with a positive outlook. The school subjects of “Formação Musical” in specialized music schools and of “Educação Musical” in general schools in times of Covid-19 pandemic. Sharing results of a study of the Portuguese Association of Music Education After the Portuguese Government approved, on March 13th 2020, a group of exceptional and temporary measures concerning the epidemiological situation caused by COVID-19 through Law-Decree nr. 10-A/2020, the Portuguese Association of Music Education created a website to support teachers (APEM, n/d 18 ) and it also decided to gather more specific information from music teachers about the functioning of some school subjects of the General Education system (GE) and of the Specialized Education system (SE) during the pandemic period. The school subjects chosen for the initial study were collective or group school subjects (not individual teaching): the “Educação Musical” school subject of the 5th and 6th grades of GE and the “Formação Musical” school subject of all grades of SE. The choice of these school subjects was made in consideration of the facts that they were both collective subjects and that they share some contents and pedagogical procedures, despite belonging to different educational subsystems. Two focus group meetings were organized online, one gathering “Educação Musical” music teachers of the GE subsystem and the other gathering “Formação Musical” music teachers of the SE subsystem. The main goal was to obtain a descriptive panorama of what happened in those school subjects in terms of the teaching and learning processes during the pandemic period and also to gather perspectives for music education in schools after the pandemic. Methodology The selection of teachers for the organization of these two Focus Groups was done according to a few convenience sampling criteria (Etikan, Musa & Alkassim, 2016): they had to belong to the public system of education, either to the GE subsystem or to the SE subsystem (because of the similarity in their organization, functioning and funding principles); they had to teach the selected collective school subject (and therefore be able to provide the specific information desired); they had to fulfill the “1 teacher/1 school ratio” (all the contacted schools and all the main geographic areas of the country – North, Center, South, Azores and Madeira – could be represented in the study). All SE and GE selected teachers were sent an e-mail before the online meeting with the description of the organization and timings of the Focus Group, and with an Interview 18 https://apem.org.pt/apoio-ao-professor/recursos-web/ 30 Script indicating the three main areas of research focus. The group interviews would last for 2 hours maximum and the interview script was the same for both Focus Groups. It consisted of the following parts: Part I – Adaptation to distance learning a) Adaptation to distance learning: processes, decisions and summing-up b) Digital communication tools: platforms and apps c) Synchronous and asynchronous communication management d) Percentage of students with regular attendance of online “Formação Musical” (SE) and “Educação Musical” (EG) school subjects Part II – Pedagogical practices a) Pedagogical practices and strategies b) Evaluation practices c) Changes during the pandemic period in the program domains of experimentation and creation (Composition), interpretation and communication (Interpretation) and appropriation and reflection (Audition) Part III – Positive outcomes a) Positive outcomes of the pedagogical experiences during the pandemic period b) Selection of what will be adopted next school year: digital tools, pedagogical practices, evaluation procedures, a.s.o. This initiative was well accepted by all participants as it represented an opportunity to share information and reflect collectively upon the effects of the pandemic. Some teachers underlined that they seldom have the possibility to get together, even within the same school, and professional isolation was mentioned as a problem that characterizes the profession of a teacher and the history of these school subjects. Therefore, the meetings, which took place on the 6th and the 13th of July through the APEM Zoom platform, began in a tone of motivation and eagerness. There were 12 “Formação Musical” SE teacher participants (one of them was an instrumental teacher in representation of the “Formação Musical” teacher) and they represented 12 specialized music schools: Braga, Porto, Aveiro, Coimbra, Lisboa, Loulé, Funchal and Ponta Delgada Conservatories; the Instituto Gregoriano, and the School Groups Luís António Verney, Vialonga and Bemposta. Only two of the country’s public specialized schools didn’t send a “Formação Musical” teacher representative (Horta and Angra do Heroísmo Conservatories, both in the Azores Islands). In representation of the GE subsystem schools there were 15 “Educação Musical” teachers of 13 different districts and archipelagos: Bragança, Viana do Castelo, Porto, Abrantes, Odivelas, Amadora, Sintra, Almada, Mértola, Beja, Portimão, Funchal e Ponta Delgada. This selection covered the desired regions of North, Center, South, Madeira and Azores. 31 This article focuses on the results of Part III (Positive Outcomes) of the Focus Group Interviews that took place both with the Specialized Schools music teachers and the General Schools music teachers. The interpretation of these results aims to contribute to the broader European perspectives on music education after the pandemic. Focus group of teachers in specialized music education: Results, positive outcomes and future perspectives The exceptional situation of the pandemic created opposite feelings in the teachers of specialized schools. On the one hand, the weaknesses of the school system and of social and family structures became more visible; on the other hand, teachers had a new opportunity to look at the students from a different angle. This section describes the opinions of these music teachers about the positive things they believe will remain after this pandemic experience in the next school years: a) Educational system and organization: to keep using the institutional e-mail address created for all students during the pandemic period; to promote online school meetings for teachers in order to reduce the distance and isolation among them; to create resource centers for the students; to fight for a National Curricular Program for the “Formação Musical” school subject b) Technology: to develop more technological skills in order to promote students‘ autonomy; to gain more confidence in the use of technologies; to develop students‘ technological skills, so that they might benefit from the diversity of digital tools available c) Communication: to review the offer of the types of classes and lessons: face-to-face, online or mixed models; to consider reducing face-to-face time and increasing the use of mixed models in order to alleviate the students‘ schedule for other autonomous work; to use Google Classroom for student work management and better availability of pedagogical resources for each class; to enforce compulsory use of an open camera during synchronous online classes for better knowledge and recognition of students; to promote the sharing of information and ideas; to do more networking and to use the musical part of the website of the Associação Portuguesa de Educação Musical more often; to promote other long distance communication channels d) Pedagogy: to increase the students supervised individual musical work; to use more technological tools for work on aural skills, such as Teoria.com and Ear Training; To reflect upon the values involved in education, such as cooperation and sharing of materials and resources; to reconsider and reorganize evaluation criteria; to pay more attention to formative assessment in comparison to summative assessment 32 Focus group of teachers of general music schools: Results, positive outcomes and future perspectives This section describes the generalist music teachers‘ opinions about the positive things they believe will remain after this pandemic experience in the next school year. The aspects mentioned by the teachers that they are keeping in mind for pedagogical use next year are the following: a) Educational system and organization: to keep using the institutional e-mail addresses of students and teachers created during the pandemic period; to reduce inequalities in the access to computer equipment and digital tools; to gather a variety of efforts to improve schools‘ digital connectivity (government, town halls, businesses, firms); to always have the goal of maximizing school meetings time by promoting more online meetings; to regularly evaluate and reflect upon the music section of the national TV program #EstudoEmCasa b) Technology: to explore online resources for music creation, interpretation and critique; to keep using and promoting the use of online resources for teaching and learning; to ensure that all students know how to use the main digital tools and platforms recommended by the school from the beginning of the school year; to plan to attend regular teacher training short courses on the theme of the use of educational technologies for music teaching and learning and for music performance and creation projects c) Communication: to keep using digital tools and platforms such as Google Classroom that might allow for these new forms of teaching, both in face-to-face and in remote situations, or in mixed models; to privilege mixed modes of teaching and learning (face-to-face and online); to promote asynchronous activities as a way to develop students individual work; to support the rhythm and progress of classroom activities and goals; to promote asynchronous activities as a way to involve shy students d) Pedagogy: to see the role of the teacher more as a facilitator and supervisor of the learning process; to consider the digital tools provided by the schools (even if outdated) when creating pedagogical materials and activities; to plan more organized asynchronous classes, taking into consideration students with different learning rhythms and making room and time for clearing doubts, giving feedback and also for assessment of contents and competences; to reinforce project work; to foster cooperation among students through specific work projects; to create a list of web resources; to reconsider assessment models in accordance to teaching and learning strategies; to promote video recording of solo performances and of student compositions in order to promote sharing and class discussions about them; to place formative assessment at the center of the teaching and learning process; to consider video recording as a means of assessment of student learning; to create pedagogical strategies that might allow for a more frequent use of the mobile phone as a learning tool; to develop evaluation and reflection habits about the teaching and learning 39 (New) learning materials  Video recordings, audio and film footage in addition to PowerPoint presentations  new types of assignments (e.g. creating an audio or video file, self-tests),  faster and better visualization of results  less paperwork  quicker access to documents such as texts, etc. Meta level This point also includes critical comments: The following is brought forward, especially by G1:  G1: online teaching as an "emergency program", ("acceptable emergency solution", "better than no teaching at all") but also - especially from G 2:  class preparations are more precise  sustainability  transparency, participation for all, changeability  use of experts from abroad. Final evaluation and outlook Despite the innovative approaches born of necessity, the verdict on online teaching in the field of expert practitioners (G1) is rather negative. In the area of one-to-one teaching, the limitations (no interaction possible due to time latency, no fast and direct communication via video as in face-to-face teaching, no perception of the whole person via video possible, audio quality even at best rather moderate, etc.) are considerably higher than the benefits. For musicological, didactic or music-theoretical lectures (expert academics), digital teaching is certainly seen as having potential to be further developed for the postCorona period. This is reflected in the answers to the question "What could remain after "Corona"?“: On the one hand, considerably more items came above the threshold value of M=2.5 (s. Tab. 11) when using comparable questions to those used in "Teaching during the Corona pandemic". This could be related to the fact - indications of this can be found in the free responses - that one has been inspired by the questions for future teaching. On the other hand, however, there is a clear difference between the two groups. Although many people want to return to their old teaching concepts after Corona, the sudden switch to distance learning has opened up new perspectives. In face-to-face teaching, an attempt will be made to integrate some elements of digital teaching. In particular, the communication channels with students via digital media will be retained, 40 and digital forms will be used for feedback. In the same way, learning platforms have worked well and will be retained. Video conferencing tools also seem to have met with a good response and their use may be continued, including screen sharing options. Digital learning units and the provision of self-created and ready-made audio files are to be made more permanent. On the other hand, students are also expected to submit self-produced videos and audio files. Teachers in G2 will continue to provide PowerPoint slides with their own audio narration, as well as learning videos. These teachers will also put more emphasis on tasks, tests or quizzes (s. Tab. 11). Conclusion Quotations from the free responses should serve as a summary for the perspectives after Corona: "A good and responsible balance between digital and in-person teaching would not harm at all.” And with regards to professional practice: "In principle, online teaching is more of an ‘emergency solution’ for me as long as there are no better programs available". "My students, in their isolation, were very happy that I made contact and we were able to work together on a weekly basis. They had time to practice, to enjoy the discussion and to make music". And last but not least: "Stay open, enthusiastic and willing to learn!" What can we learn from the Portuguese and the German studies about the impacts of the Coronavirus outbreak in music teaching and learning processes? Despite the many differences between the studies – and maybe because of them – some final thoughts emerge. The Portuguese study focused on pre-university levels of music education (Basic and Secondary) and the German study focused on the university level. The Portuguese study selected two collective school subjects, aiming at a general comparison between what was happening in the specialized and the generalist subsystems while the German study evaluated corona virus impacts in a broader spectrum of university school subjects. The Portuguese study took a qualitative approach based on the analysis of the results of two focus group interviews and the German study took a quantitative approach based on the application of an online questionnaire. Some conclusions, however, seem convergent: the pandemic period brought about a need to look at asynchronous work as a good complement to synchronous classes and to look at online classes as a good complement to face-to-face classes. These conclusions take into consideration individual advantages for the students and the learning process, but also collective and sustainability advantages, and they seem to point to permanent curricular changes that might occur in the future in both countries educational systems, if the necessary financial investments can be made by the governments. 41 The fact that the Portuguese study seems to convey a more optimistic approach to the technologically mediated teaching and learning process in its multiple possibilities than the German study may be explained possibly by two factors: the fact that the Portuguese study focused on two collective school subjects in which music performance is not the main goal, and the fact that at the Basic and Secondary levels in Portugal, many of the technological changes were in fact novelties for which there might not have been enough time yet for a more pondered appreciation. Nevertheless, it is important to underline that the Portuguese teachers in fact pointed out that face-to-face teaching can never be replaced: “No matter how much you try to find digital alternatives nothing can replace classroom face-to-face interaction completely, what you live there and what you feel there” (PEG 10; cf the conclusions of the Portuguese study and footnote nr. 2). The extraordinary synchronicity and sound quality demands of music making (recalled by some of the participants of the German study) suggest that school subjects involving music instrument and voice performance as main goals might still need further technological advances in order to really benefit, in objective musical terms, from online classes and lessons. However, from the standpoint of subjective interpersonal connection between teacher and students, from the standpoint of differentiated pedagogical practices, and from the standpoint of student autonomous individual work and motivation, asynchronous online tasks and work and synchronous online debates might be good ways through which technology might, paradoxically, make us more human and connected, and more focused on our goals. Indeed, isn’t it a fact that Portuguese and German researchers were brought closer together, as the result of the pandemic, precisely through synchronous and asynchronous work, in order to reflect upon common values and goals of music education in our lives? References APEM (n/d). “Recursos Web” in https://apem.org.pt/apoio-ao-professor/recursos-web/ (retrieved on October 25 th 2020). Brunner, G. (2021). Das Corona-Semester – die Zwangsumstellung auf Fernlehre aus Sicht der Hochschulleitung am Beispiel der Pädagogischen Hochschule Freiburg. In U. Dittler & C. Kreidl (Ed.), Wie Corona die Hochschullehre verändert (p. 71-87). Wiesbaden: Springer. Etikan, I., Musa, S. A. & Alkassim, R. S. Comparison of Convenience Sampling and Purposive Sampling. American Journal of Theoretical and Applied Statistics. Vol. 5, No. 1, 2016, pp. 1-4. Fernandes, S. G. & Coutinho, C. P. (2014). “Tecnologias no Ensino da Música: revisão integrativa de investigações realizadas no Brasil e em Portugal”. Educação, Formação & Tecnologias (julho-dezembro,2014), 7 (2), 94-109. Hodges, C., Moore, S., Lockee, B., Trust, T. & Bond. A. (s/d). The Difference Between Emergency Remote Teaching and Online Learning. https://er.educause.edu/articles/2020/3/thedifference-between-emergency-remote-teaching-and-online-learning (retrieved on October 25 th 2020). 42 Kraemer, O. & Hammerich, H. (2020): Auswertung der Dozierendenbefragung zur Distanzlehre an Musikhochschulen in der Corona-Krise. https://www.hmt-rostock.de/aktuelles-service/onlinestudieren/umfrage-zur-online-lehre/ (retrieved on October 25 th 2020). Stebbins, R. (2001). Exploratory Research in the Social Sciences. Thousand Oaks, CA: SAGE. University Göttingen (2020): Ausgewählte Ergebnisse der Semesterendbefragung der Lehrenden zur digitalen Lehre im SoSe 2020. https://www.unigoettingen.de/de/document/download/d447e42492f5a0de67218bb08c168725.pdf/20200805_Se mesterendbefragung_Lehrende_Web_final.pdf (retrieved on October 25 th 2020). Law-Decree nr. 10-A/2020 (Presidency of the Council of Ministers). Establishes exceptional and temporary measures concerning the epidemiological situation created by the new Coronavirus. 43 Appendix: The experience of music teachers from Portugal and Germany during the Covid-19 pandemic: hard times and creative solutions Data German Study (Georg Brunner) Tab. 1: Status of Academic Staff (G1 = Group 1, expert practitioners ; G2 = Group 2, expert academics) Status of Academic Staff Frequency Percent G1 G2 G1 G2 Professor 5 22 7,9 34,4 Research Associate 12 22 19,0 34,4 Adjunct Teaching Staff 43 10 68,3 15,6 Others 3 10 4,8 15,6 Tab. 2: Types of Teaching Type of Teaching Frequency Percent G 1 G2 G1 G2 Lecture 2 4 3,2 6,3 Seminar 13 56 20, 6 87,5 Exercise Class / Tutorial 44 7 69, 8 10,9 Tab. 3: Distribution to individual Courses G1 Frequency Percent Individual lessons – Instrument 25 39,7 Individual lessons – singing 19 30,2 Practical instrument for schools 8 12,7 Conducting an ensemble 5 7,9 Facilitating musicmaking in the classroom 3 4,8 Band practice 2 3,2 Choir 1 1,6 G2 Frequency Percent Research in Music Education/Music History 15 23,4 Teaching methodology 42 65,6 Music Theory 4 6,3 Aural Training 2 3,1 New Media 1 1,6 44 Tab. 4: School Types to which the Teacher Training Program refers Frequency Percent Primary School (6-12 years) 84 62,7 Secondary School 1 (10-16 years) 89 66,4 Secondary School 2 (17-19 years) 49 36,6 Special Education Schools 24 17,9 Other 19 14,2 Tab. 5: Learning Platforms used Frequency Percent G1 G2 G1 G2 no 50 5 65,1 7,8 yes 13 59 34,9 92,2 Moodle 6 29 9,5 45,3 MS Teams 2 2 3,2 3,1 OLAT 1 1 1,6 1,6 ILIAS 3 16 4,8 25,0 Campusmanagement 6 12 9,5 18,8 Other 5 7 7,9 10,9 Tab. 6: Video Conferencing Systems used Frequency Percent G1 G2 G1 G2 no 8 5 12,7 7,8 yes 55 59 87,3 92,2 Zoom 40 49 63,5 76,6 DFN Conf 1 2 1,6 3,1 BigBlueButton 2 4 3,2 6,3 Skype 23 4 36,5 6,3 MS Teams 2 4 3,2 6,3 Jitsi 1 3 1,6 4,7 Cisco Webex 5 7 7,9 10,9 Other 7 1 11,1 1,6 45 Tab. 7: Share of Synchronous Teaching Synchronous Teaching Frequency Percent G1 G2 G1 G2 0% 5 4 7,9 6,3 up to 20% 8 2 12,7 3,1 up to 40% 4 7 6,3 10,9 up to 60% 12 5 19,0 7,8 up to 80% 7 14 11,1 21,9 More than 80% 27 31 42,9 48,4 Tab. 8: Use of Feedback (Indication of mean values (M); scale: 1 = does not apply at all, 5 = fully applies; n = size of the sample. G1 G2 n M SD n M SD The students always received feedback on their submitted assignments. 47 4,3 6 1,35 8 62 4,4 2 1,08 I sent feedback by e-mail. 46 3,1 1 1,52 4 54 2,8 5 1,309 I met with students via video conference to give them feedback. 49 3,7 8 1,54 5 61 3,4 8 1,273 46 Tab. 9: Teaching during Corona Times (Indication of mean values (M); scale: 1 = never, 5 = always; n = sample size.) G 1 G2 n M SD n M SD I created digital course units for students. 5 0 2,5 2 1,63 2 61 3,5 7 1,39 6 I provided students with PowerPoint slides. 4 4 1,6 6 1,29 3 61 3,6 1 1,26 9 I included an explanation of the slides via voice-over ... 3 2 1,7 5 1,50 3 47 3,6 6 1,63 2 … and I was also visible as the narrator. 4 1 2,9 1,99 8 56 3,8 7 1,69 6 I used videos that I had not created myself. 4 1 1,5 9 0,97 4 59 2,5 1 1,25 1 I provided students with audio files that I had produced myself. 4 7 2,3 8 1,52 6 61 2,1 1,35 I used ready-made audio recordings. 4 5 2,2 1,37 5 59 2,9 3 1,41 3 I gave the students assignments, tests or quizzes. 4 5 3,2 9 1,75 3 62 3,7 4 0,99 1 I used video conferencing for the lecture. 5 0 3,8 2 1,56 1 62 4,3 2 1,08 3 I used screen-sharing to visualize content. 4 8 3,1 5 1,77 4 63 4,3 1,05 7 I provided students with breakout rooms (digital group rooms). 4 3 1,6 3 1,29 1 61 3,3 4 1,41 3 I made music together with students via video conference. 2 2 4,5 0,80 2 13 3,8 5 0,68 9 I sang/played music to students via video conference. 5 4 4,0 2 1,42 1 61 2,1 6 1,33 1 Students submitted self-produced videos. 4 9 2,4 7 1,51 5 60 2,0 3 1,16 4 Students submitted self-produced audio files. 5 2 2,6 2 1,54 9 62 1,9 8 1,19 4 47 Tab. 10: Evaluation of Online Teaching (Indication of mean values (M); scale: 1 = do not agree at all, 5 = agree completely; n = sample size.) G1 G2 n M SD n M SD Analogue teaching is clearly better than digital teaching. 61 4,1 8 1,02 5 63 3,5 7 0,94 6 I have the impression that students work with the learning material more intensively in online teaching. 58 2,5 3 1,04 7 64 3,1 9 0,95 7 Students' examination results are lower with digital teaching. 60 2,9 3 0,91 8 60 2,3 2 0,81 3 48 Tab. 11: Teaching after Corona (Indication of mean values (M); scale: 1 = not at all likely , 5 = very likely; n = sample size.) G 1 G 2 n M SD n M SD After Corona, I will return to my accustomed concept of in-person teaching. 6 3 4,2 5 1,031 6 3 3,1 3 1,085 I will try to integrate some elements of digital teaching into classroom teaching. 6 0 3,0 7 1,219 6 3 4,4 1 0,816 I will add some in-class units in my course preparation for the summer semester. 5 3 2,7 2 1,364 6 3 3,6 1,185 I will continue using digitalchannels to get in touch with students. 5 8 3,5 3 1,188 6 3 4,3 0,733 I will provide students with feedback in a digital format. 5 7 2,5 4 1,364 6 2 3,5 8 1,017 I will mix in-person units and asynchronous digital learning phases. 5 7 2,4 7 1,311 6 3 3,8 4 1,05 I will use a learning platform (such as ILIAS, Moodle, Blackboard, MS Teams etc.) and ... 5 7 2,5 6 1,547 6 3 4,3 5 1,034 ... continue to work with video conference tools (such as Zoom, BigBlueButton, MS Teams etc.). 5 8 2,7 4 1,319 6 2 3,8 4 1,19 I will provide digital learning units for students. 5 7 2,6 1 1,32 6 3 3,7 5 1,177 I will provide students with PowerPoint slides, ... 5 3 1,9 2 1,385 6 3 4,0 8 1,348 … to which I will add my explanations via voice-over. 5 1 1,6 7 1,125 6 0 3,1 3 1,641 I think that I will provide students with educational videos that I have created myself. 5 5 2,0 9 1,309 6 3 2,5 1 1,501 I will include other (learning) videos in my teaching that I have not produced myself. 5 6 2,4 8 1,362 6 1 3,0 5 1,371 I will also make audio files available to students that I produced myself … 5 7 2,7 9 1,555 6 2 2,5 2 1,4 ... that I did not create myself. 5 6 2,8 4 1,57 6 1 3,1 5 1,537 Students will continue to receive assignments, tests or quizzes from me. 5 5 2,3 1 1,477 6 1 3,8 2 1,232 I will continue to use video conferences for teaching purposes … 5 8 2,5 3 1,354 6 2 3,5 1,34 ... and screen-sharing. 1 9 4,0 0,882 4 9 4,2 2 0,798 I will ask students to send me self-produced videos ... 5 5 2,5 5 1,463 6 1 2,7 2 1,318 ... as well as audio files. 5 9 2,6 6 1,504 6 2 2,8 7 1,337