Brave new educational world?

COURTESY GUILDHALL SCHOOL OF MUSIC & DRAMA

In these dark times of Covid-19, students and teachers alike have been looking at the possibilities aff orded by virtual tuition. This has mostly taken the form of one-to-one string lessons via platforms such as Skype, but a few teachers have also taken to creating their own video content that anyone can download or stream, to reach the largest possible number of potential students without even needing to see them in person. But are these online tuition packages really feasible as a profit-making enterprise? And how different for pupils is the experience from real face-to-face learning?

Beth Blackerby is the founder of Violin Lab, which offers three differentiated tuition packages, each including technique videos, exercises and repertoire, which can be accessed via a monthly fee. Launched in 2009, Violin Lab boasts more than 20,000 adult learners on the site. While there is a plethora of platforms on which to host such resources, such as Patreon, Teachable and Podia, Violin Lab is custom-built. ‘In 2009 there were no platforms designed for learning that were organised in the way I wanted,’ says Blackerby. ‘So, while I have spent an enormous amount of money in custom builds, I don’t share any of the profits.’

Teacher and soloist Joy Lee has been delivering tuition via Patreon and her YouTube channel since 2015; the latter now has more than 24,000 subscribers. Rather than off ering subscriptions to a course of ready-made lessons, Lee posts one free, weekly lesson on Patreon and YouTube. This acts as a content-marketing strategy, attracting potential learners to book live lessons via Skype. Lee says both platforms off er advantages: ‘YouTube is a great way to reach many people and my Patreon page offers another way of keeping connected to my viewers. ‘I get income from advertisements and patron funds that come with these services, too, although direct profits from them are not significant. However, through these platforms I have connected with many international students and business contacts. These violinists found me through YouTube, engaged with my violin lesson videos and have become my students via Skype.’

Henriette de Vrijer hosts the YouTube channel Pro-Am Strings, which offers free video learning content, driving prospective viewers to her site proamstrings.com, from where they can book live online lessons. Pro-Am Strings also offers a beginner’s course via Teachable, and de Vrijer also has experience of hosting via Udemy. ‘Unless you do a serious amount of marketing yourself, Udemy takes a 60 to 70 per cent cut,’ she says. ‘Any client that comes via your own promotions will really bring in some decent profit. YouTube can be quite profitable but requires a very wide range of videos.’ All three musicians cite YouTube as an eff ective marketing tool for attracting interest, in addition to local digital markets and social media channels.

‘You have to word your lessons very carefully to limit ambiguity, which is a very useful teaching skill’ – Henriette de Vrijer, founder, Pro-Am Strings

But how feasible is it really to teach the intricacies of technique at any level in a non-personal setting? ‘Very feasible, if you are experienced in teaching remotely,’ says de Vrijer. ‘It’s a different art altogether compared with teaching face-to-face. It requires experience of what may go wrong and how people may interpret what you are saying. You have to word your lessons very carefully to limit ambiguity, which is a very useful teaching skill!’ In Blackerby’s view, it depends on the student: ‘Seeing thousands of adult beginners over the years has given me insight into the efficacy of watching videos organised in a curriculum as the primary model of learning. Without a doubt it is a successful model for the autodidact. Those who do best are by nature methodical with their practice schedules, are self-analytical and have a developed sense of body awareness. They don’t expect to be an advanced player overnight and are patient with daily repetition and slow practice. These learners do as well, if not better, with online learning than with face-to-face lessons.’

Lee views virtual lessons as democratising tools: ‘I have many students who initially had been playing violin for a long time but had to discontinue because of the high lesson fees or overly critical instructors. I think it’s wonderful that many people can access the classical music world without fear of being criticised too much, running out of funds or not finding a legitimate instructor.’

So, how does feedback work? ‘I answer the questions from my students mainly via email,’ says Lee. ‘For YouTube subscribers and for patrons from my Patreon page, I make videos as answers to their questions as much as possible.’ Do users ever submit videos and then ask for feedback? ‘Yes, these can be a cheaper option for violin students,’ says de Vrijer. ‘The student records a video of what they have learnt, and the teacher records a video lesson in return, with suggestions about how the student might improve.’ Violin Lab also offers access to a community forum, which can be used to share feedback.

None of the teachers claim that such means are of greater value than immediate live feedback, or that their resources challenge one-to-one teaching. ‘There is no substitute for the rapport a student builds with their teacher,’ says Blackerby. ‘In particular, watching videos is not an effective model for children. They are unable to track or implement the concepts on their own. They need immediate feedback every step of the way. It is the quality and delivery of feedback that is responsible – along with practising – for a young student’s improvement. The reasons adults are driven to online platforms where they buy content are all about feasibility. Some people don’t have access to good teachers where they live. Adults also find online learning a better fit for their busy lives.’