Developing
a critical framework for evaluating new developments in computer technology
and their potential impact in online music teaching
Vicki Swan 2005
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Introduction
The purpose this paper is to explore the freedoms and constraints of technology
for teaching instrumental music tuition online. Three technologies have
been explored; teaching using websites, webcasting and podcasting. The paper
is laid out as follows:
- A poster that
presents the technologies discussing the freedom and constraints of
each.
- A critique of
the poster and literature review.
- An exploration
of the Podcast technology investigating its freedoms and constraints.
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Poster
Fig. 1 is a poster that showcases three different technologies that have
been used for online instrumental tuition. The poster has been built as
a website which can be seen by clicking on the picture below.
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Fig 1. Poster |
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Critical
Poster Review
The definition of the word poster is:
n 1: a sign posted in
a public place as an advertisement; "a poster advertised the coming
attractions" [syn: posting, placard, notice, bill, card]
(die.net website)
The poster created
for this paper was a webpage. The format of the webpage conformed
to the previous definition of a poster whilst allowing for the inclusion
of multimedia such as audio and moving images. Furthermore, the webpage
allowed for the presentation of the three technologies for teaching under
critical review. The traditional poster is a flat piece of paper with
drawings and text, but there are may design rules that were of use in
creating the freedom and constraint poster. Posters should be:
brief and direct,
designed to attract, not too many visual elements, not too text based,
bright and colourful, but not too busy. (BRAA arts, website)
The poster constructed here
attempted to follow some of these guide lines. There was one picture that
attracted the eye informing its audience that this poster was about
playing the Scottish Smallpipes. There were a number of smaller links
to click to listen to / watch the multimedia and the colour of the site
was bright, but legible.
There are also guidelines for building websites, Flanders (2004)
list a whole gamut of faux pas that web designers fall into: too much
text, too many flashing gifs, too much javascript, non-supported frames
to name etc. The web page constructed for this poster has attempted to
conform to the good building design with a simple blue background, a strong
heading and only enough text to explain what the site was about. In past
versions of the website the text has not been legible, so the text was
kept as a strong white colour to contrast the background. This background
may be too bold for some designers, but it was simple enough and legible
enough to put its message across. Neilson (2000) described
how long webpages that require much scrolling down detract from web appearance,
so an attempt was made to make this poster fit into one window that fits
on the screen. It could be that in trying to make this poster fit onto
one page detracted from the visuals. On the negative side, a small page
makes it easy to misjudge the amount of content present; all the content
opens up in small windows ready for consumption with a little note warning
the viewer of download time. Shepard (2001) argued that in transferring
information from an audio visual state to text can be detrimental to the
content:
Abstracting information
from images for conversion into text may be part of the process
but often results in loss of information or over-simplification.
(Shepard 2001:1)
Another major consideration
for website design was the use of plugins. Flanders (2004) stated that
plugins should be kept to a minimum, that people do not like to install
extra programs unless absolutely necessary. He also goes on to say that
unless it is specifically a music website, sound files should not be used.
As this poster is discussing online methods of teaching music it conforms
to Flanders suggestion that audio files were acceptable.
By designing the poster to be viewed as a webpage this ensured that it
would work on all fairly up to date platforms (Apple Mac or PC) but software
was required to view the movies. Software is an issue with all IT related
activities. As it is an internet based poster a link is provided to download
any required software. This should suffice but it is possible that older
machines may not be able to cope with viewing the movies.
Another bad design fault according to Flanders (2004) is the use of Cascading
Style Sheets. This website uses cascading style sheets, which can cause
problems in browsers that dont support them, including a refreshing
issue that prevents the style sheet from showing in Firefox. (The browser
that was used in designing the site) It would be best to redesign the
page so that the style sheet is not used, but due to time constraints
this is not possible.
The web page was chosen to
represent the styles of online teaching being discussed. Split into three
sections each section was represented using as close to the original technology
as possible. The website section used a mix of audio and movie, the webcasting
used movies and the podcasting only audio. This was to aid the audience
feel a sense of what was being discussed.
Using the media to represent
each technology was only partially attained; the website section was represented
successfully. The webcasting was fairly close to the original research,
except that it could not be made to be synchronous or a chat facility
produced. The podcasting section did not use the RSS or downloading option,
but as in the case of the webcasting the media experience was replicated
in a fairly true fashion. The audio was in the style of a podcast, informal
unscripted and unedited. It could be debated that as it was unedited and
in a sense improvised that it did not follow the formal reflective cycle
as described by Gibbs (1988) of
Description - Feelings
- Evaluation - Analysis - Conclusion - Action plan
As much care as possible was
taken over the contents of the video and audio to ensure the integrity
of the reflection on the research and technologies. It is possible however
that this was not sufficient and that scripting should have taken place.
However by scripting the audio it would have lost the informal feel and
moved away from the podcast style.
Most people are used to reading, be it in detail or just skimming over
the presented facts. By using multimedia it prevents skim reading and
the participant must listen to the entire presentation to glean all the
information given. For this reason each piece of media was kept short
and clearly labelled short manageable chunks used. Using audio and video
opened up the poster for people with low literacy, but not with low bandwidth
as multimedia files were too large to be downloaded on 56k.
By using the podcast style narration throughout the poster it may come
across to its audience that it does not subscribe to academic rigour,
this is an issue that could be addressed by scripting the audio but this
would lose the style of the discussed technologies. Podcasts are traditionally
unedited and rough in quality
Currently many
podcasts are known for their scratchy or homemade personalities
(Meng 2005)
The language of the poster was consistent with the language of the three
technologies, which was in term chosen to reflect the vernacular language
of podcasting. |
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Literature Review
The technologies that are discussed in this paper have all
predominantly involved teaching in the audio visual medium. This is due
to the fact that it is instrumental music that is being taught. Traditionally
there has been a disparity between the written word and aural medium.
Most academic text will favour the written discipline because they come
from the same cultural paradigm of the written word, but Swanwick (1996)
recognised the value of the aural tradition when stating that:
Without
aural performance traditions, most expressive and structural shaping
is missing. (Swanwick, K. 1996:244)
This polemic between
playing by ear and playing using written notation can be traced back to
the cultural divide of folk music and classical music. The classical musicians
assuming that their higher literacy skill in the ability to read music
makes their style of music better, whereas the aural tradition of folk
music seeming somehow to show illiteracy. Swanwick (1979) tried to show
music teachers how they need to alter their perceptions of cultural
music;
It may be that teachers ought not to categorise
the cultural background of pupils as in some way inferior, or in deficit,
but merely as different.(Swanwick, K. 1979:104)
There has been
little written on the pedagogy of learning processes in traditional music
and as such this is an area that needs further study.
Elsewhere in the music environment, research is being undertaken to investigate
online music teaching. The Santa Barbara Music Academy has undertaken
research into performing synchronously online, putting on concert where
two musicians perform a duet from different locations across the internet.
The virtual duet performance marks a first in
the history of music and technology, allowing the musicians to perform
in realtime. (Kuehn 2003)
Ruippo (2003)
looked at synchronous communication, phone / video conferencing. His work
focused on technological resources replicating the real teaching scenario
by trying to mirror the face to face experience. Video conferencing was
explored and developed as the preferred model of distance learning.
These examples demonstrate that Videoconferences
seem to suit many kinds of music material. (Donner 2003)
Bhandopadhyay
(2000) took the asynchronous perspective with the learner being forced
to be more auto-didactic
With faculty guidance, the learner must increasingly
become self directed, acquiring knowledge and skills through interactive
technology-based instruction, videotaped courses, CD ROMs, self-paced
learning modules and interactive education. (Bandopadhyay 2000)
The freedom to
teach music on the internet has only become possible as the internet has
become faster and more versatile. The evolution of computer based technology
has been very swift and is still developing. This speed of development
is none more apparent than when looking at literature where an issue of
importance in one moment appears to become a thing of the past in the
next. Ten years ago Mason (1994) talked of audio graphic systems requiring
two phone lines being of great value but unrealistic. Brooks (1997) talked
of problems with too much web traffic slowing down the internet and of
potential storage devises that hold more than CDroms (ie DVDs). Within
six years of Brooks, broadband was available to nearly 80% of the UK population
(British Telecom 2004) and DVDs are a standard storage media. This advancement
has outstripped all expectations of these writers and the developments
are so impacting on the virtual world that much of the earlier research
no longer has relevance.
With faster internet,
greater storage capacity and new technological revolutions comes more
diverse opportunities for all walks of technological life including teaching
and learning. As computers became powerful enough to employ multimedia,
they allowed the scope for video, audio and community to explode. These
developments have opened up freedoms for all sorts of disciplines to embrace
technology that would not have seen the technological relevance before.
Williams (1998) discussed the fact the
...multimedia
technologies may just prove to have significant and permanent educational
value (Williams 1998:159)
With all these freedoms still come constraints. There is
still a significant digital divide with more than 51% if households in
the UK still without access to home computing and the internet. (BT 2004)
This is due to many factors and poor literacy and poverty are listed amongst
the greatest factors.
In the research that was undertaken here there were software and platform
issues. The teaching methods made use of specific software (Quicktime,
Podcast software etc.) Not all the software worked cross platform and
older machines wouldnt necessarily cope with installation. In addition
there were also technical issues brought up both for student and teacher.
Ruippo (2002) discovered that there was a problem with the attitude of
current instrumental teachers in creating online resources:
..there
is quite natural reluctance to change ones established teaching
habits and to be willing to spend extra time within a busy schedule,
to do so.(Ruippo 2002)
A study in Australia found that it was necessary to:
Keep
technology simple, where ever possible, and avoid the problems caused
by students upgrading software and handling different media files.
(Bond 2002:27)
The latest development on the web is that of RSS - real
simple syndication. This new technology allows a person to subscribe to
a website and have any new items or news downloaded straight into a special
program. The freedoms of this include the ability to be automatically
notified of updates without having to visit the website itself. (Richardson
2005:1) Originally developed in conjunction with weblogs it now
extends to being used by many websites including the BBC in delivering
its news items. In 2003 this was taken a step further by Dave Weiner
and Adam Curry when the enclosure tag1
was developed for RSS. Along with the development of a standalone programme
to enable audio files to be played direct from weblog RSS new items podcasting
was created. (Curry 2004)
The biggest freedom for podcasting is
The
ability to time-shift content versus traditional broadcast distribution
models expands student teaching and learning opportunities significantly(
Meng 2005:11)
This time-shifting of content is not entirely a new phenomenon
as it has been available with asynchronous websites. Indeed the study
performed on podcasting here has shown that many participants preferred
to visit a website and download content straight from there. Podcasting
is a very new technology and many people are looking on it sceptically.
However both Virgin Radio (2005) and the BBC have begun to provide podcasts.
One BBC podcast (Perry 2004) recently topped 100,000 hits for the Reich
Lectures. As Meng in the Missouri White paper suggests
Podcasting
and VODcasting, and their pending derivatives, are not fads. They are
very real and practical distribution technologies (Meng 2005:11)
The salient freedom inherent in podcasting appears to be
its ability to distribute content via RSS and to utilize non-personal
computer technologies such as mp3 players. These opportunities will be
discussed in the next section.
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Podcasting
- A Future Technology
IIntroduction and Background
Podcasting is one of the latest technologies to emerge onto the computing
scene and one that has a great deal to offer education. The purpose of
this study was to use the action research methodology to investigate the
freedoms and constraints of using podcasting to teach instrumental music
online. Podcasting is so new that contemporaneous research is few and
far between. This research attempts to gain an insight into the freedoms
and constraints and ascertain whether it is a viable technology to pursue,
or merely a fad.
Podcasting took its name from Apples iPod, but it is not a
requirement to access this technology using one. Podcasting consists of
several technologies all linked together to produce a new method of distribution.
Dave Weiner described podcasting like this:
Think how a desktop
aggregator works. You subscribe to a set of feeds, and then can easily
view the new stuff from all of the feeds together, or each feed separately.
Podcasting works the same way, with one exception. Instead of reading
the new content on a computer screen, you listen to the new content
on an iPod or iPod-like device.
Think of your iPod as having a set of subscriptions that are checked
regularly for updates. Today there are a limited number of programs
available this way. The format used is RSS 2.0 with enclosures.
(Weiner 2004)
Podcasts are generally between
10 minutes and and hour in length, the average being about 20 minutes
and have a size of roughly 1Mb per minute of audio. As podcasting is still
such a new technology the processes required to create and broadcast podcasts
are still fairly complicated as there appear to be no integrated programs
or services to date. The following sequence was the process used to create
the podcasts for this study2.
- A weblog was created
using the free service blogger.com
- A feedburner.com
account was created.
- An audio file was
recorded using the Apple Mac programmes GarageBand and Amadeus II.
- The file was saved
as an mp3 and compressed a small amount.
- The mp3 was uploaded
into personal webspace. (Making a note of its url)
- A new entry was
created in the blog with the start of the entry being an a href html
url link to the mp3 file, for example:
a href="http://www.your_domain.com/podcast01.mp3">podcast
(The tags are incomplete as xml wouldn't work!)
- The feed was burned
using feedburner.com to create an RSS that was podcast enabled.
- The RSS feed was
advertised to find listeners.
Once a listener discovered
the RSS that they wished to subscribe to they needed to add it to a feed
aggregator. Once subscribed the feed was checked at regular intervals
by the aggregator and then new podcast entries either be played in the
software or bounced into the relevant media player and from there straight
into an iPod or other portable player for listening to at leisure. Fig.
2 is a representation of the process including suggested programmes (for
the Mac OSX system) |
fig. 2 The podcasting process
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Research Methodology & Ethics
The anti-positivist, naturalistic and qualitative nature of this enquiry
perfectly lent itself to the action research methodology. Cohen and Manion
(2000) stated that:
...the social world can only be understood from the standpoint
of the individuals who are part of the ongoing action being investigated:
and that their model of a person is an autonomous one, not the plastic
version favoured by positivist researchers. (Cohen and Manion 2000:19)
The purpose of
the study was to investigate the freedom and constraints of podcasting
to teach instrumental music. To complete this study participants were
gathered from around the world. Musicians that could already play were
targeted so as to gain insight to the learning of tunes without the added
dimension of learning to play the instrument itself. After each podcast
was created and uploaded, feedback was requested and actions taken dependant
on the participants opinions. A Weblog was used to create a RSS feed mechanism
and thus all feedback was given as comments under each entry, thereby
completing the action research self reflective spiral (Kemmis and McTaggart,
1992:22 cited in Cohen et al 2000:229).
All participants were informed
that project was for masters degree research in the entries on the blog.
All names have been removed from the data here to protect anonymity.
Data Collection
Eight podcasts were created over a period of three months and distributed
from a weblog. The podcasts were advertised in places on the web including:
http://www.mudcat.org
bellowspipes yahoo newsgroup
http://smallpiper.proboards38.com
Each podcast entry took the form of an mp3 audio file, a jpeg of the music
to be taught and a short paragraph of explaining text. Feedback was received
in the form of replies to each podcast and any comments acted upon. Each
podcast audio file contained verbal explanations of the what was to follow
in the podcast, and various versions of a tune to be learnt. The teaching
methods used in the podcast altered during the course of the eight podcasts
to reflect the feedback from participants. Fig. 3 is a table of the eight
podcasts, the content of the audio files and text materials provided and
a summary of the feedback received. |
Podcast
Title |
Podcast
Form |
Feedback
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To
Catch a Cat |
CD version of flute tune
Tune slowly (2 bars) |
- Too
difficult, would be nice to have a version to play along with
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The
Dusty Pipes |
Tune with loop backing
Pipe Duet
Tune Slowly (2 bars)
Harmony only with loops |
- Buffering
stopped, maybe nice to have a version broken up into smaller
files.
- Good
to put onto media player and take away.
- Chunks
too small for easy tune.
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Lullaby
for the Sleepy |
Tune with loop backing
Pipe Duet
Tune Slowly (4 bars)
Harmony only with loops |
- RSS
working nicely.
- Would
like the dots in D
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Tsunami
|
Three part flute
Drums but no other loops
Tune Slowly (2 bars)
Harmony only with drums |
- Longer
phrases for slow airs better
- Drum
track not good
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Race
for Home |
Pipe duet, flute, bass
No loops
Transposed to D electronically |
- Wonderful
arrangement
- Transposition
worked well
- Going
to share with others
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Lament for the Lone
Piper |
Pipe duet, flute, bass
No loops
Transposed to D electronically |
- Worked
well
- RSS
set up
- Podcast
better than website, flexibility to be away from computer
- Almost
feels like with a real person
- Maybe
video would add to experience.
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Pushbike
|
Pipe, flute, bass, guitar
No loops
Transposed to D electronically |
- Feedback
on extended chanter notes
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The
Damson Tree |
Pipe duet, flute
No loops
Transposed to D electronically |
- RSS
better than streaming, better quality and not clipped
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fig. 3 Table of feedback
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Results
All the podcasts and accompanying materials can be found on the blogger
website ad extra resources on the podcast
vault.
Podcast No. 1
The first podcast contained a performance version of the tune from
a CD followed by the tune played slowly. The manuscript for this tune
was included. The feedback for this tune indicated that it was too fast
for the participants to learn and that a version to play along with would
be beneficial. A flute tune was used to attempt to widen the audience
from just pipers to other instruments. Although some colleagues attempted
the tune, all other participants were pipers.
Podcast No. 2
As a result of the first podcast feedback a simpler pipe tune was
selected. The audio format was set as a pipe duet with a backing created
with a program called GarageBand. This program consists of ready made
loops and the ability to record more than one live track. Using this programme
a duet was recorded with backing track. This was split into the full version
and a version without the tune to let people play along. The feedback
using this method was on the whole very positive, only one comment that
the tune was too easy and didnt require splitting up into such small
chunks. Further suggestions were made regarding the file size. One participant
mentioned that their media player kept stalling and that the podcast broken
up into smaller chunks might be useful. As a result of this request a
website page was built and the podcast split into its component
parts and uploaded. This was called the podcast vault to represent that
this was a storage area for resources. The tune was performed in the key
of A and one participant suggested (via e-mail) that it would be nice
to include the tunes in the key of D for those pipers who only had pipes
in that key.
Podcast No. 3
The third podcast took the same form as the second: a pipe duet track
with GarageBand accompaniment followed by a breakdown of the tune into
small sections finishing with the accompaniment being played for the participant
to play along with. Feedback to this podcast showed that the RSS feed
was working nicely. Two versions of the tune were recorded, one in D and
one in A so that more pipers were able to play along with the music. This
was however quite time consuming to produce.
Podcast No. 4
The fourth podcast was a flute trio. Although participants seemed
to enjoy the tune it was discovered pipe tunes were preferred. The accompaniment
was in the form of two extra flute parts and a drum rhythm. It was expressed
in the feedback that the drum track was not a good idea.
Podcast No. 5
Following the feedback from the previous podcast there was a return
to pipe tunes. The accompaniment was made to be an ensemble arrangement:
pipe duet, flute and double bass, no loops were used at all. The feedback
received on this was the most positive yet. As in the previous podcasts
the format was kept to full version, broken down and accompaniment only.
Instead of recording a version in A and another version in D a program
was used to transpose the pitch and both versions put online. The only
drawback to this was that any words spoken at the same time as playing
was transposed into a helium enriched sounding voice. The feedback showed
that this was acceptable.
Podcast No. 6
Podcast number six had no significant changes and feedback was all
positive. The RSS and podcast software was functioning for the participants
that chose to use it. The podcasts were found to be better as there was
more flexibility to be away from the computer and learn tunes. The friendly
unrehearsed style of the of podcast speech was very much like having a
live tutor, adding video to this would help even more.
Podcast No. 7
& 8
As
with the last podcast there were no significant changes made. The feedback
took the form of discussion of extra notes available on bagpipe chanters.
Also the benefits of RSS and podcasting over streaming the same content
over an internet radio station. The participant felt that podcasting had
advantages over internet streaming in that the quality was better and
that the file can be taken away on a media player.
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Analysis and Evaluation
The focus
of this research was to investigate the freedoms and constraints of teaching
instrumental music using podcasting. During the eight podcasts created
and broadcast the following constraints were identified:
The Constraints
As podcasting is so new it was difficult to set up the first time, many
different processes were required, on the mac it required two different
programmes to create the podcast audio file. Personal server space was
required and then two different online web-based services accessed. If
the podcasts were to remain online for any length of time a lot of storage
space is required. This can either be expensive for the a podcaster or
mean that podcasts need to be removed on a regular basis and participants
need to download promptly.
It was also confusing to explain the listening process for new participants.
Podcasting involves understanding RSS, the downloading of audio files
and accompanying text and using podcast software. Depending upon the podcast
software it is possible that a website also needs to be accessed. Some
participants were resistant to downloading new software. Further confusion
was created as the software is not required to listen to the podcasts
as it was possible to download the audio file direct from the website.
To access a podcasting it is necessary to have broadband. The files being
on average of 15 - 20 Mb preclude those people with only 56k access. e.g.
a 20Mb file will take on average 1 minute minute to download on broadband
but somewhere in the region of five hours on 56k.
Although a participant suggested that podcast be broken up into smaller
parts and placed as an archive it was found to be very time consuming
to create and created a site that was prohibitively large without having
a personal server.
The Freedoms
The greatest freedom in using podcasting is the ability to
download an audio file and place it on a media player and use the file
away from the computer. If all the correct software is downloaded and
installed the podcasts and accompanying files can be accessed instantly
without having to use any extra programmes. The RSS feed automatically
checks for updates and downloads files straight to computer. Using podcast
software that displays the accompanying blog text there is no need to
use a browser. Accompanying files can be linked into the blog entry to
help cater for different learning styles. For music teaching this is especially
important as most musicians prefer to have both audio and accompanying
manuscript.
As the audio file can be downloaded it can then be transferred to a mobile
media player and used away from computer. Any accompanying manuscript
and text can be printed thus taking away the dependency on computer the
computer for the learning process. The computer is used as a method for
information and learning distribution. This technology is asynchronous,
it can be accessed and used whenever the participant wishes. In the global
world of the internet this gives the freedom for musicians around the
world to learn despite the difference in time zone.
The feedback mechanism is a inbuilt on a weblog. Comments can be left
on the blog for other participants to read and if so wish collaborate
and is not a bolt on feature, but a part of the blogging culture.
The Future
Podcasting is still in its infancy and as such new software
is still constantly under development. There are still bugs and user issues
on many of the podcast software RSS feed readers. Some programmes show
all the text in the blog entry whilst others do not. Some play audio files
without downloading and some do not. This currently causes some confusion
amongst people trying to decide which piece of software to use. Once podcasting
programmers can create software that integrates all the different processes
and podcast-dedicated-blogs are available the process will be made far
simpler. There is a lot of scope for teaching music using podcasting,
but there is a lot of research that still needs to be conducted in this
area. There may be possibilities to incorporate this audio style of learning
and delivery into many other aspects of education. This is an area for
further research.
Conclusion
The focus of this
study was to explore the freedoms and constraints of using podcasting
to teach instrumental music online. Although there were many freedoms
and many constraints, it was recognised that most of the constraints were
surrounding the technology and most of the freedoms were surrounding the
music teaching. It appeared that podcasting was a good medium for teaching
music, but that the technology is not yet suitably developed to facilitate
the process. Using podcasting to teach music is an area that needs more
development but this study has shown sufficient promise to warrant more
research. |
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1
Enclosure Tag - a tag that enables audio attachments to be added to weblog
entries and played in podcast software.
2
Note that his is not the only way of creating and broadcasting podcasts.
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