B. J. Music. Ed.

2009 26:1, 8597 Copyright C

2009 Cambridge University Press
doi:10.1017/S0265051708008280
A tutor in your back pocket: reections on the use of iPods and
podcasting in an undergraduate popular music programme
St e v e Co o pe r , Cr i s pi n Dal e and St e v e Spe nc e r
School of Sport, Performing Arts and Leisure, University of Wolverhampton, Gorway Road, Walsall WS1
3BD, UK
[email protected], [email protected], [email protected]
This article reports upon a research project undertaken at the University of Wolverhampton
where iPods and podcasting were used as a delivery and assessment mechanism within an
undergraduate Popular Music degree programme. A sample drawn from students studying
the programme was interviewed to explore their engagement with the technology and
the curriculum materials produced. Results found that although not a replacement for
traditional lectures, iPods and podcasting are an effective means for supporting student
learning. Benets included motivating learners, enabling student interaction, offering time-
shifted learning engagement and personalisation of learning. This article evaluates the
pedagogical adoption of iPods and podcasting within a music education context and
makes suggestions for future areas of research.
I nt r o duc t i o n
The advent of iPods and podcasting has extended the way in which people engage
with multimedia. Podcasting can be dened as the authoring of, and subscription to,
audio and/or video multi-media les on the internet (Lim, 2005). These les can then be
downloaded and played back on a range of mobile devices including laptops, mobile
phones, PDAs, iPods and other MP3 players (Bausch & Han, 2006). The developments
with podcasting, in particular, have enabled many to become amateur broadcasters
publishing their creations on the internet via social networking websites such as MySpace,
Facebook and YouTube. In addition, an increasing number of HE institutions, courses
and individual lecturers are making material available as audio podcasts as an alternative
means of knowledge dissemination. Launched by Apple Incorporated, the iPod emerged as
a technology in late 2001 and has become a must-have gadget amongst todays youth who
have been described as the iPod generation. Although the use of the iPod as a learning
technology is still at a relatively embryonic stage, the use of podcasting has caught the
imagination of many universities who see it as a means of delivering a blended learning
approach (Deal, 2007).
Corresponding author: Crispin Dale
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It should be acknowledged that iPods and podcasting are not co-dependent and
that podcasts can be played on any mobile or PC device. However, the natural synergy
between the two offers additional opportunities for exploring the effectiveness of iPods and
podcasting for supporting student learning. Since September 2005, the Music Department
at the University of Wolverhampton has been engaged in researching the use of iPods and
podcasting as a supportive delivery mechanism for learning content in an undergraduate
Popular Music degree course. Using a sample of students studying the course, the objective
of the research project was to act as an initial investigation for understanding student
engagement with podcasting and iPods. The article will also evaluate the way iPods and
podcasting can be used to support programme delivery. The research is unique in that
it explores the application of technologies that have not initially been conceived for
the purposes of learning application. In addition, the le sizes that can be stored on
iPod devices, along with the push technologies of the Really Simple Syndication (RSS)
subscription aspect of podcasting, offers a signicant opportunity for music educators to
explore their potential for video and music performance analysis.
i Po ds and po dc as t i ng
In recent years research projects in the UK Higher Education sector and elsewhere have
explored the use of mobile technologies to support the delivery of curriculum materials
and communication with students (Kukulska-Hulme & Traxler, 2005). These projects have
culminated in a number of case studies highlighting the potential of mobile technologies
including, for example, mobile phones, personal digital assistants (PDAs) and laptops. The
Joint Information and Systems Committee (JISC) note a number of key benets when using
mobile technologies in learning contexts, including their portability and exibility, their
immediacy in communication, their ability to promote learner empowerment and active
learning experiences, and their any-time, any-place connectivity (JISC 2005). In addition,
mobile and wireless technologies can engage students in learning-related activities in a
diversity of locations, can enhance communication and collaborative learning, can engage
reluctant learners and also raise self esteemand condence levels (Liu et al., 2003; Attewell,
2004; Naismith et al., 2004). Kukulska-Hulme and Traxler (2005) further note that mobile
learning can be informal, unobtrusive, ubiquitous and disruptive. The extent to which the
iPod, as a mobile technology within music education, meets these criteria is worthy of
further exploration.
Previous research into the use of mobile technologies in music education has observed
both positive benets and challenges. PDAs for example have been used as a means of
sharing music amongst students and were found to develop a sense of social bonding
(Bassoli et al., 2006). Polishook (2005) used PDAs to teach music composition which noted
a number of benets, including their portability and their role in encouraging students to
think more creatively about their music. However, the small size of the screen was seen as
a shortcoming for students, deterring them from fully engaging with the learning material,
while the more widespread use of mobile technologies such as PDAs has been limited
by their high cost and limited ownership among students, such that it is necessary to nd
funding that enables the provision of a PDA to them in order for such work to progress.
Other issues of le size, formats and le compatibility continue to restrict the reach of these
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developments (Trinder et al., 2005). With the launch of MP3 players and their appearance
on campus in large numbers, an opportunity presented itself to revisit the use of audio
les for curriculum delivery. Audio-visual materials have a long history of incorporation
into course content and it is possible to nd tape archives and video footage of lecturers
who have experimented with these formats. However, it is clear that there is, at present, a
renewed interest and level of activity in the development and delivery of teaching materials
through multimedia techniques.
The birth of the iPod, in particular, has offered music educators innovative opportunities
for engaging students in a multi-media learning experience. The iPod and other mobile
listening devices have become an icon of popular culture (Sterne, 2006), to the extent
where iPod users use their music players to control their time and space (Bull, 2005). OHara
and Brown (2006) have commented on how the iPod has changed listening behaviour and
affords the social value of the portable device as a projection of a persons musical identity.
The advantage of using the iPod as a learning technology with students is that, although
difcult to dene, the devices have managed to retain their coolness in a market where
an abundance of music players exists (Reppell et al., 2006). Indeed, mobile technologies
such as the iPod have had a major inuence on society (Farnsworth & Austin, 2005) and
become socially accepted devices (Clark &Walsh cited fromChan &Lee, 2005). Farnsworth
and Austin (2005) recognise the iPod as miniaturised hybrid assemblages incorporating
a combination of audio, image and text technologies, enabling the enhanced exibility
of interaction with different media. Although iPod and MP3 devices are mainly used for
leisure purposes, they generate great opportunities for exible learning (Mellow, 2005).
Many have acknowledged the contribution iPods can make to the process of lifelong
learning (Pownell, 2004). Within a classroom environment, Slykhuis (2006) recognises
that the iPod is useful for playing music, for use as a portable hard drive, for displaying
pictures, and for recording audio. iPods have also be viewed as a disruptive technology
(Berry, 2006) challenging the conventional practices of educators. The iPod also has the
potential to develop collective listening behaviours (Bull, 2006) that offer further scope
for the promotion of collaborative learning experiences within music education. American
universities have been at the forefront of developments in the educational use of iPods and
podcasting. The key characteristic of this landscape is the manner in which the institutions
themselves have adopted the new technology and supported it with appropriate structures,
staff and funding. The rst to lead the sector was Duke University in North Carolina with a
well-publicised project involving their entire rst-year cohort (Duke University, 2005). The
high prole and appeal of this undertaking encouraged other institutions to investigate the
iPod and podcasting phenomenon (Blaisdell, 2006).
Chan and Lee (2005: 65) suggest that podcasting combines the broadcasting nature of
radio with the exibility, learner control and personalization afforded by recorded audio.
Huann and Thong (2006) note the bottom up approach to podcasting where internet
users have the potential to develop and publish podcasts to the net quickly and easily
without having to know complicated HTML code. They convey this as a sequential process
encompassing three phases; content creation, publication and subscription. Three types of
podcast have been developed so far audio, video and enhanced. The audio podcast is a
speech only le, presented in an MP3 format. The majority of recorded lectures currently
utilise this. The video podcast is a full motion video le usually presented in a MPEG or
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MP4 format. There are fewlimits to what can be included in a video podcast since anything
that you can see on television can be utilised in this format. The enhanced podcast is a
speech-only le but with the inclusion of more interactive elements such as images,
hyperlinks and chapterisation. These les are presented in an M4a format and are viewable
using iTunes on both PC and Mac platforms. The enhanced podcast is not as common as
its audio and video counterparts, largely because the authoring of such les is currently
almost exclusively an Apple-based activity. Podcasts are then published via a web-based
subscription service, the RSS protocol, which pushes the information out to listeners
(subscribers) automatically rather than asking them to check the place where the podcast
is being hosted, for example a website or on a virtual learning environment (VLE).
Previous research into podcasting within educational contexts has found a number
of advantages. These include meeting the needs of students with different learning styles
(Alexander, 2005), particularly those who like to learn on the go and take a bite size
instrumentalist approach to learning (Dale & McCarthy, 2006). Furthermore, podcasting
can promote exibility in accessing learning materials (Chan & Lee, 2005; Levy, 2006),
generate greater inclusivity (Cebeci & Tekdal, 2006), enhance student engagement and
reection (Baird & Fisher, 2006) and can develop communication, time management,
problem-solving and critical-thinking skills (Hargis &Wilson, 2005; Huann &Thong, 2006).
Research has also found that podcasting can alleviate student anxiety levels towards the
subject matter (Chan & Lee, 2005), enable a better understanding of the taught material
(Lane, 2006) and have a positive effect on exam performance (Abt & Barry, 2007).
T he r e s e ar c h pr o j e c t
The University of Wolverhampton has been actively involved in investigations into
Technology Supported Learning (TSL), having launched its own VLE called the
Wolverhampton Online Learning Framework (WOLF) in the 1990s and developed an
electronic presence for almost all of its courses. In an institutional context that continues
to sponsor research into mobile learning and the use of mobile phone and text-based
functions, it was a natural extension to create a team to explore the potential of mp3
players. Thus, since 2005, and with the support of the Institute for Learning Enhancement
at the university, a team of performing arts tutors have been engaged in research into the
broader use of iPod technologies promoting diverse approaches in teaching and learning.
The broad project was entitled Podagogy (www.podagogy.co.uk) which the team have
broadly dened as the use of iPod technologies to develop pedagogical practices in learning
and teaching. The Podagogy research was based around three projects in music, drama
and dance, each of which took a different approach to using the iPod with their students.
Within the context of this research the music project is the focus of the discussion.
Lecturers involved in the project were interested in exploring the reinvigoration of the
use of audio and visual materials in a manner that exploited developments in technology.
This is in line with current trends in HE that seek to engage learners through a blend of
approaches to curriculum delivery (Hughes, 2007). More specically, the broad research
areas under investigation included; rstly, generating ideas on how iPod technologies
can be applied to a popular music degree programme; secondly, examining how these
technologies could be used to support curriculum delivery; and thirdly reecting on the
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Table 1 Project Timeline
Phase 1 (Sept Dec) Phase 2 (Jan April) Phase 3 (May June)
Staff Consideration of
opportunities for
using podcasts within
module delivery
Up-skilling on podcast
creation and
supporting
framework
Testing University IT
network including
the VLE, FTP, le
sizes etc
Creation and publication
of podcasts
Troubleshooting issues as
they arise
End of semester evaluation
of student interaction
with podcasts
Students Understanding the
supporting
framework and
aggregator software
(e.g. iTunes)
Understanding how to
download and use
the podcasts
Training on iPod
functionality
Downloading of podcasts
Student engagement with
learning activities in
the podcasts
Student submit
assessment in podcast
format
Participation in podcast
evaluation interviews
experience of students in relation to their response to using iPod technologies to support
their learning.
The research focused upon a cohort of Level Two students studying the BA (Hons)
Popular Music programme. This group consisted of 24 students and presented a mix of male
and female students, young (1821) and mature students and a diversity of economic and
racial backgrounds. Following initial investigations into various approaches it was decided
that the package presented by the combination of Apples iPod Video and the iTunes
software provided the advantages of wider ownership, seamless integration of mp3 player
and computer, cross-platform availability and as previously explained the motivational
characteristics accrued due to the iconography of the iPod.
The project encompassed three phases which are outlined in Table 1.
Phase one
Phase one was designed to provide training in the operation of iTunes and iPods so that
students would be able to download les successfully. Each student was equipped with
the latest Video iPod to ensure equality of access to materials. Consultation with staff and
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students led the team to make podcasts equally available by other means and taking steps
to ensure equal access for students off campus who were using older PCs and only had
access to slower connection speeds. Students were given the option to receive the podcast
materials in an alternative format and to submit the student podcast assessment as a report.
It should be noted, however, that none of the students decided to take this option.
During this period course tutors were able to develop skills in the creation and
distribution of curriculum materials and to test the IT infrastructure of the university in
order to ensure that it was able to handle the le sizes and types that were to be included.
Indeed, institutional issues including the compatibility of le formats (.m4v) and download
times, where the VLE was being used to host the podcasts, placed initial challenges for the
project team.
Phase t wo
During phase two, tutors created and integrated teaching materials into module delivery
that exploited the capabilities of the iPod and iTunes framework. Three modules were
selected for the process of evaluating the use of the iPod and podcasting with the sample
cohort of music students. The modules from level two were entitled Songwriting, Historical
and Contextual Studies and Popular Music Performance. These included audio podcasts,
video podcasts and enhanced podcasts incorporating visual materials and supplementary
resource weblinks with which students could interact. The chapterisation tool was used to
enable students to move easily around the podcasts themselves without having to listen
through them from the beginning. The podcasts were produced using either the AppleMac
programme called Garageband or Camtasia on a Windows-based PC. Podcasts were then
published on the Universitys VLE and on the tutors own website which included an RSS
feed. (see http://www.stevecooperband.co.uk/Songwriting/Podcast/Podcast.html).
The Songwriting module, for example, used video podcasts sometimes referred to
as vodcasts in order to demonstrate to students the use of Sibelius notation techniques.
Students were able to play the vodcasts back on either their PC or iPod which became an
instructional tool on how to use the software. Students also used their iPods for sharing
original material to enable peer review and development in music performance. In the
Popular Music Performance module students used the iPod and podcasting in a number of
ways. Firstly, for distribution and the selection and sharing of songs for analysis, secondly for
reective practice in order to evaluate audio and visual aspects of live performance which
they had recorded and could then play back on the iPod, and thirdly for improvisation and
solo performance where backing tracks could be recorded and played back for individual
rehearsal. In the Historical and Contextual Studies module, audio and enhanced podcasts
were used to supplement the course material. In addition, the student assessment was based
around a research project, the outcomes of which were presented as an audio podcast.
Phase t hr ee
The nal phase involved the investigation of students responses to the delivery of module
content using podcasting techniques. This began during the module delivery in order to
capture initial reaction and continued into the beginning of the next academic year. A
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series of semi-structured interviews were conducted with six male and six female students
selected to represent a balance of age and gender and varying degrees of engagement.
Finally, outcomes of module assessments were considered in the light of the alternative
delivery methods employed. Interviews were transcribed to facilitate analysis and the data
codied in order to elicit themes and patterns (Marshall & Rossman, 1999). These were
used in order to retrieve, order, cluster and to categorise the data (Miles &Huberman, 1994).
The key words and phrases that had the greatest prominence in student responses were:
motivation, enrichment, style, content, timeshifting, personal learning and the expression
that podcasts were not a replacement of lectures. Each of these themes will be discussed
in greater detail.
F i ndi ngs and di s c us s i o n
Podcast s a r epl acement f or l ect ur es?
As suggested earlier, the idea of presenting a lecture in its entirety has become a popular
way of developing a large podcast archive. However, the use of the podcast to replace
the traditional lecture was strongly resisted by the students. Indeed, none of the students
questioned sawthe podcast as a replacement for face-to-face lecture time. Students felt that
their engagement was increased by extra or complimentary content to support the lecture
rather than a mere repetition of it. Some students personal learning styles also favoured
handouts and the option of providing an additional feed with the inclusion of a PDF le
outlining the script and/or music exercises featured in the podcast was seen as benecial
to them.
I think its a good consolidation for the actual lectures, I dont think you could substitute
the lectures altogether. (Student AS)
I think if it [the podcast] had been the same as the lecture then I dont think I would
have listened to it. If youve got notes from the lecture then there wouldnt be much
point. (Student LT)
Its good for recapping. In the lessons if something wouldnt sink in properly Id have
to go away and think about it but with the podcasts, its like having a personal tutor.
(Student MW)
This particular aspect is useful when students are using the iPod and aural skills to develop
their learning. The ability, for example, to play and replay chord sequences listened to
on the podcasts enables a reinforcement of knowledge. This opportunity can sometimes
be lost in a xed classroom setting that takes place within a set time frame, although an
acknowledged limitation is that students do not have the opportunity to respond and ask
questions of the music lecturer, if they require further clarity.
For some, primarily those who had a slower, modem-based internet connection,
the process of loading iTunes and waiting for the episode to download was very time
consuming.
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By the time youve gone to your computer, youve downloaded this, youve kind of
listened to it, youve gone through a lot of processes when you could have read it.
(Student GL)
It is apparent that music students express positive feelings towards the use of podcasting
but only as a supplementary means of supporting learning and not as a replacement. This is
an important consideration for music educators to take account of when considering using
podcasting as part of a blended learning approach.
Enr i chment and mot i vat i on
Students claimed that their sense of motivation and engagement was signicantly increased
as a result of using the podcasts. For example, the Historical and Contextual Studies podcasts
incorporated genre band images and weblinks that enabled students to understand the
interface between music and fashion at a particular point. Where more intense theory
based material was present, students were able to re-listen to examples of the material
covered in the lecture and test themselves via exercises featured in each podcast episode.
The answers for each mini test were followed up in the next podcast to enable students to
check their answers.
I found it [using podcasts] loads easier and I really picked up on it, especially with the
theory stuff and having examples to listen to. (Student AL)
Those students who were able to subscribe to the RSS feed for the songwriting podcast
series were signicantly more engaged and were able to easily keep track of updates. The
very fact that new episodes updated on their computers automatically, proved a motivating
factor in itself.
Ive got my iTunes setup to automatically update so when theres a new one [podcast]
Ill have a listen to it and because its there, it makes you do it. (Student CB)
The video podcasts were utilised to answer frequently asked questions about the Sibelius
computer software that students were required to use in the preparation of their nal
assessment. Students were able to follow a click by click video podcast with commentary
demonstrating the most common errors and how to correct them in relation to the work
they were submitting. This supplemented individual tutorials, where in previous semesters
the lecturer had found that many of the same problems and issues consistently reappeared.
I like the idea of the video material on iPod because you can actually see where you
are going wrong. (Student BC)
It was apparent that the use of podcasting and the iPod encouraged students to engage with
the module content in a more interactive way. This interaction is a key motivating factor
for music students to learn more deeply about the subject matter.
St yl e and cont ent
Interview responses made clear the need for authors to reect on the length and style of
the podcasts. This came as a result of the increased familiarity with the technology and
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the temptation to cram in as much information as possible into each podcast episode,
erroneously concluding that this would add value. For the purposes of music analysis,
enhanced podcasts were developed which embedded sound les and score extracts. This
would enable the student to listen to analytical points that refer to the extracts being played.
However, even with the inclusion of chapterisation in podcast episodes, the relentless ow
of information can have an adverse effect on student listening.
I know with the songwriting one [podcast], I was listening to it and the next minute, Id
kind of forgot what had just been said.. It can kind of pass by you quite easily. (Student
GL)
A vital issue for consideration by educational podcasters is that even though the RSS
subscription provides a highly effective method for disseminating information to students,
and it may be possible to monitor how many downloads are completed (such as in the
iTunes Top Ten categories), it is not possible to determine with any accuracy how many
episodes are only partially listened to, or not listened to at all.
Im not used to using it [the podcast] it was taking me a while to just go through each
one. I thought Ill leave it for now and come back to another time. (Student BC)
The style and content of podcasts is an important factor for music educators to consider.
Podcasts should be informative, but not to the extent where the content disengages learners.
Though there was no specic feedback from the sample group on the preferred length of
the podcasts, for music educators, interactive exercises and quizzes that test students on
recorded extracts are useful techniques for ensuring the reinforcement of knowledge and
understanding.
Ti me shi f t ed engagement
Students approached listening to the podcasts in a variety of ways, reinforcing the personal
nature of the experience and the listen when and where you like philosophy. Of those
interviewed, there was an even split between those students who chose to transfer the
downloaded podcasts across to their portable devices, in this case, iPods, and those
who preferred to listen via iTunes on their desktop. Whatever method was favoured (and
this changed from podcast to podcast in some cases), students were utilising time when
travelling, or on the treadmill, to listen to their podcasts, increasing their engagement with
learning materials in previously under-utilised time.
I listen on the train because I sit there and think right Im going to do something
productive. (Student CB)
If I had a spare ve minutes then Id log onto iTunes to get the latest one [podcast] and
then if I had to rush off somewhere else then Id listen to it later on. (Student JT)
Other students noted that they did not always listen to the material immediately, choosing
to wait until they were ready to start an assignment task.
I waited until I was ready to start [the assignment task] and then I watched the video
podcast and it helped. (Student JP)
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Podcasting was particularly useful in this sense for understanding orchestration. Sound and
visual les of extracts in orchestral pieces were used in the podcasts to illustrate the range of
individual instruments and their use in different orchestral textures. Being able to listen and
reect at a time and place of your own choosing is a crucial part of engaging music students
in the learning process. Podcasting offers music educators the opportunity to maximise the
learning of students, at times and in places, where it may not have traditionally taken place.
Per sonal cul t ur e
The integration of podcasts in a blended approach to delivery provided a greater sense of
personalised learning for students. Though the podcasts were the same for each individual,
the instant method of delivery of a bespoke podcast delivered by a recognisable voice was
an appealing and individual experience and integrated itself seamlessly alongside students
other digital media.
It doesnt feel like work. I think having personal material on the iPod encourages you
to listen to it [the podcast] because the iPod is your little thing and its fun. (Student LT)
The idea that downloading podcasts is a geeky and a largely male-dominated activity was
also challenged. In particular, female students were the ones to push the boundaries of
what was possible with iTunes and the iPod, integrating the material alongside personal
photos and videos and personalising their iPods with individual accessories. They also
commented that they were more likely to share that material with their family and friends.
Im not really into gadgetry stuff so I thought what do I do with this [the iPod]? But I
really got into it. (Student LH)
I was able to show my friends and family the work Id been doing [in songwriting] and
actually play them stuff. It was great, they were like thats amazing. (Student AL)
The large le sizes that the iPod is able to contain enable it to store a wealth of visual
and audio information. In this respect, the containment of the students own musical video
performances on the iPod and the ability to playback, reect and share with peers, friends
and relatives on the go, is a unique feature of the technology and, as mentioned previously,
can be a highly motivating factor.
Co ncl us i o n and r e e c t i o ns
The article has discussed the use of iPods and podcasting with a sample of students studying
an undergraduate Popular Music degree. Overall, it can be concluded that the use of iPods
and podcasting had a benecial effect on the overall student experience. Although it is
acknowledged that these benets may not necessarily be exclusive to this technology, the
portability, exibility and active learning experiences that can be encountered through the
use of the iPod conrms previous research into the use of other mobile learning technologies
(JISC, 2005). Furthermore, the ndings suggest that the iPod, as a mobile technology, is
an informal, unobtrusive and ubiquitous device (Kukulska-Hulme & Traxler, 2005) that
can make a signicant contribution to learner engagement within music education. The
research has, therefore, revealed a number of useful and informative ndings that can be
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summarised as follows: Firstly, students have little desire to relisten to an entire lecture but
prefer to utilise podcasts to build on and revisit lecture concepts with relevant exercises
and examples. Secondly, the blend of podcast material along with the lectures was an
enriching and motivating experience. Thirdly, those students who receive podcasts via RSS
demonstrated greater engagement with the material. Fourthly, the podcasts enable students
to time shift their learning, choosing when, where and how they listen and relisten to
materials in order to meet personal need. Fifthly, the iPod culture is not bound by gender
barriers and develops a combination of work and fun, conrming the thoughts of Prensky
(2001) and the way in which the contemporary student learns. Finally, the challenge for the
podcast creator is to evaluate consistently the balance of length, delivery style, tasks and
degree of difculty to ensure that whilst podcasts are downloaded, they are also listened
to by their intended audience.
It should be acknowledged that a limitation of the research is the small-scale nature
of the survey and therefore further research needs to be conducted with a wider sample
of students involved in different programmes of study. Further research also needs to be
conducted into the extent to which podcasting can meet the different learning styles of
students and contribute effectively as part of a blended learning approach. Also, the use
of collaborative podcasting as an assessment technique and its potential as a medium for
offering assessment feedback could be more fully explored.
From the research a number of recommendations can also be proposed. Institutional
frameworks need to be developed in order to support staff and assist them in the process
of podcast production and publication. Podcasting as a delivery mechanism is more likely
to continue and develop if institutions develop supportive frameworks. Indeed, as an
increasing number of educators begin to use podcasting, peer pressure amongst students,
(i.e. . . . my other lecturer gives us podcasts . . .) is likely to act as a catalyst to its further
adoption as a supporting delivery mechanism. Policymakers need also to understand that
podcasts can add to a diet of activities within a blended approach to delivery but should
not act as a replacement for the traditional lecture/tutorial session.
F ur t he r i nf o r mat i o n
The following video podcast contains further details about the project.
http://home.wlv.ac.uk/in8246
Ac kno wl e dge me nt s
The authors would like to thank the Institute for Learning Enhancement at the University of
Wolverhampton who have funded the Podagogy project and the PALATINE HEA network
for their support of the staging of the Podagogy conference in June 2006 where a version
of this paper was presented.
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