This paper describes a holistic approach to managing the development, presentation and delivery of online learning materials. This process combines learning design, content preparation and delivery, and technical support in a partnership between educational development and academic staff to ensure quality outcomes for students in distance education studies. A learner analysis informed development of this approach and a templated guide was created to provide a model for courseware development. This ensures that students are provided with the information and resources required to successfully complete their studies, and that their experience is enhanced by reducing the need to search for key information each time they commence a new course. The consistency in learning resources means that key information, assessment and learning outcomes are always present in the same location across all courseware, thus reducing the cognitive stress students report in navigating educational materials.

As we move through the 21st Century, a variety of chamber music ensembles emerge. More unconventional ensembles are appearing, and the rationale of an ensemble's aim or output is becoming more concentrated. No longer can a group be described simply as an 'early music ensemble' or 'new music ensemble', but to find a niche in the ever growing number of small to medium groups, ensembles are becoming more definitive by nature. Through developing a unique approach to performance practice, group identity, and audience perception, the ways in which an ensemble prepares for a performance is determined by a number of aspects. This paper explores repertoire choice as a contributing factor to the successful operation of a chamber music ensemble. Part of a larger study on the processes of chamber music ensembles, this paper focuses on the life experiences of three professional chamber musicians actively involved in chamber music performance, and specifically focuses on the functions and meaning of a group's repertoire choice in the creative and organizational process of a musical group. The study uses a qualitative framework and Interpretative Phenomenological Analysis of three semi-structured interviews as case studies to analyze and describe the meaning of the impact repertoire has on group process, aims and performance. The findings identify the key functions of repertoire choice from a performer and audience perspective including the functionality of the ensemble, verbal and non-verbal communication between players and audience, and the artistic goals and outcomes of the group. The study highlights the sociological importance of the relationship between repertoire and group process, and the need for practicing musicians to fully understand the significance this has on the success of an emerging and/or established ensemble.

As AusMusic month closes, it’s a good opportunity to consider an instrument that has made quite a contribution to the musical life of Australia. The notorious recorder has been feared by parents and called an “instrument of torture”. But what has this instrument given us that we might not realise?

The innovation of new forms of media brings a greater diversity of choices to music educators and students, while at the same time, the integration of new media with existing 'traditional' forms provide an opportunity for the advancement of online music education. Many researchers confirm that younger generations of students have high levels of interaction and experience with new media and virtual tools. With the growth in new and emerging technologies, virtual tools in particular offer educators an effective online pedagogical approach to deliver teaching materials to help support students in their studies as well as preparation for real world employment. Online music education is a relatively new, yet fast growing discipline. This paper will outline the use of new media and virtual tools to facilitate student interaction, practical practice and authentic learning activity within online music education.

Reflections explores the sonic properties of a range of recorders against electronic fixed media (processed and unprocessed sounds, or soundscape). This program investigates and demonstrates the variety of sound possibilities the instruments can produce through traditional and contemporary performance practice. Featuring mostly female Australian composers, each piece presents a particular reflection of the instrument’s past through integration with fixed media. Reflections has two meanings in this program: the improvisation and interaction between the live performer and the pre-recorded material, and the concepts of the pieces themselves. In the first instance, reflections refers to the improvisatory mimicking of pre-recorded material by the live performer; expanding and weaving musical and gestural motifs to contrast and assimilate live and recorded performance. With an early music heritage and a rebirth within the contemporary environment, the second references the recorder and its music, how these eras can be reflected by crossing sound, playing techniques and representation. Program: Loops (1983) - Ros Bandt, Permafrost (2019) world premiere - Donna Hewitt, Sweet Flute (2007) - Thomas Reiner/Katrina Dowling, Kage (2000) - Roderik de Man

Senex et Sonis: Old Sounds. This program explores the recorder, its representations and its repertoire throughout history. Creating a crossover between the historical performance practice of early medieval and renaissance pieces and today’s contemporary electroacoustic environment, the performers create a synthesis of sound, through the juxtaposition of contemporary and early repertoire. The unique position of recorder players allows them to draw on knowledge of centuries of literature to enable the performers to take the audience through a sound world like none other. With over 20 different instruments, live electronic manipulation, improvisation, experimentation, visual media and new works by Australian composers, The Recorder Project successfully push the boundaries of one of the world’s oldest, unchanged instruments. Each piece performed in this program has a direct link to nature and includes 3 world premieres and an Australian premiere. Program: Codextant: Medieval Immersions in New England (2015) World Premiere - Eve Klein Earth Breeze Smoke (2008) Australian Premiere - Matthew Shlomowitz

Online education is becoming prevalent across the higher education sector and requires new approaches to teaching and learning. As music is seen as a ‘hands on’ discipline, there has been a very gradual move toward the use of online technologies in music teaching in tertiary education, especially in the area of performance studies. By surveying existing scholarly research, this article investigates the technology available to consider the possibility of teaching performance studies within a fully online environment. Today, music students are also required to develop meta-skills such as social networking, entrepreneurism, self-management, self-regulation, and self-reflection. Through a constructivist teaching and learning paradigm, this article explores how online technology in instrumental or performance studies can support and develop these essential proficiencies as well as continuing to develop technical skills. This study serves as a foundation for further systematic research, and a practical application for online music education.