In the past year, the home has been converted into a lot: a classroom, an office – or even a rehearsal room for music students. Just like for Fiona Dangl in the picture above, the music lesson looks and looks like for many students: the instrument in the hands, the teacher in front of you on the PC or tablet. Anyone who has experience with video conferencing knows that sometimes sounds are lost. What is everyday life like at music schools and how does distance learning work there?
A supplement – but not a substitute
The main challenge of distance learning is the dependency on the Internet and thus on the transmission quality, explains Thomas Heher, head of the Upper Waldviertel Music School Association: “You can’t hear everything through video.” He sees distance learning more as a supplement to lessons Place – rather than a substitute.
There are no opportunities to perform, and there are always ideas for digital class evenings, he says: “Children miss the performances. It’s good if you get a little breath of the stage. “
Pay attention to the music
In the beginning, distance learning was a new and interesting experience for music students, says Heher: “Now the air is a bit outside.” His tip for parents? Pay attention and interest to the child’s instrument: “It is important to listen and let yourself be played by what the child is learning in class.”
For the current school year, he speaks of full registrations in the music school association – how it will look in the coming year is still open.
End result as motivation for the student
Veronika and Elisabeth Holzmüller from Nondorf show that music is still fun despite distance learning at the music schools: “I practice every day and the end result motivates me to keep going,” says twelve-year-old Elisabeth. She plays the violin and the piano. Distance learning works well, except: “We can’t play together over the Internet.” She mostly does her practice hours alone.
Her nine-year-old sister Veronika plays the violin and flute. Sometimes she doesn’t understand something so well, that is a challenge. And: “I miss the performances very much. It’s a nice feeling to be on stage. “
Independent at the instrument
While working on the sound quality via video is almost negligible, rhythm and musical design work well for it, says Martin Kaburek, head of the Heidenreichstein Music School Association. He sees an advantage of distance learning in the increased independence of the students: “The teacher cannot intervene, he can only act. The question, however, is how sustainable that is. “
For some students, it went even further than usual, motivational sagging rather only in phases, he explains. But admits: “What the students enjoy is making music with others. Everyone wants to play now. “
Family concerts together
Johanna Strohmayer from Reingers won third prize on the clarinet at “Prima la Musica” this year. That also gave her motivation to practice, says the student of the Heidenreichstein Music School Association. Later she would like to play with the Litschau City Band or the Brand Trachtenkapelle. In order to stay tuned in lockdown, the family recorded videos of Johanna’s music and sent them to relatives. Sometimes there are even concerts in very small groups: her mom plays the trumpet, her sister the tenor horn.
What sometimes causes problems online are the handles, and she also lacks playing together: “I like performing in a group, it’s more fun.”
Consequences for music clubs?
“The online lessons work well, but they are not ideal for less rhythmic children. There is no knocking, because that arrives at the student with a delay. Showing on the sheet of music doesn’t work either, ”explains Reinhard Bauer. He teaches at several locations of the Upper Waldviertel Music School Association.
The conductor of the traditional costume orchestra Moorheilbad Harbach also worries that there are no lessons in the wind classes and youth orchestras: “Many music students play there and already support the band, with which no rehearsals are now allowed.” This long break could mean that the young musicians lose the strength in their lips and thus the approach diminishes, the dexterity suffers and grips are forgotten. “Generally speaking, the sound quality deteriorates without rehearsing,” says Bauer.
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