International Journal of Instruction October 2021 ● Vol.14, No.

4
e-ISSN: 1308-1470 ● www.e-iji.net p-ISSN: 1694-609X
pp. 451-462
Article submission code: Received: 25/10/2020 Accepted: 19/04/2021
20201025162158 Revision: 25/03/2021 OnlineFirst: 08/08/2021

Adaptations in Conservatories and Music Schools in Spain during the

COVID-19 Pandemic

Diego Calderón-Garrido
Dr., Serra Húnter Fellow, Universitat de Barcelona, Spain, dcalderon@ub.edu
Josep Gustems-Carnicer
Prof., Universitat de Barcelona, Spain, jgustems@ub.edu
Adrien Faure-Carvallo
Universitat de Barcelona, Spain, adrienfaure@ub.edu

The lockdown imposed in Spain as a result of COVID-19 made it necessary to

rethink educational processes. In this situation, digital technologies offered the
most efficient solution by moving all teaching to an online format. The purpose of
this study is to analyze the adaptations made in music schools and conservatories.
To achieve this, an ad hoc questionnaire was designed and distributed, and resulted
in a sample of 259 teachers. The results reveal a lack of training and structures that
was reflected in the problems encountered by teachers with continuing instrumental
classes, especially for ensembles. However, music theory classes were affected to a
lesser extent. It was observed that musical performance was used to focus on the
emotional aspects of students and their families.
Keywords: COVID-19, music education, music schools, conservatories, curricular
adaptations
INTRODUCTION
COVID-19 is a disease that caused a global pandemic since the first half of 2020. Many
countries adopted drastic lockdown measures to limit the reach of the virus and slow
down the pandemic (Byass, 2020; Ceylan, 2020). As a result of the restrictions on
freedom of movement, changes in daily life and education were also significant. At the
end of April 2020, 1.5 billion children and young people in 195 countries were affected
by school closures (Unesco, 2020). In Spain, the entire population was on lockdown and
education institutions at all levels, including music schools and conservatories, were
affected from mid-March to the end of the academic year.
This sudden change forced teachers to rethink their whole teaching methodology to
alleviate the academic impact as much as possible. Online education represented the
best way to continue the academic year. In this context, a distinction must be made
between online education and “emergency remote education” provided in response to

Citation: Calderón-Garrido, D., Gustems-Carnicer, J., & Faure-Carvallo, A. (2021). Adaptations in

Conservatories and Music Schools in Spain during the COVID-19 Pandemic. International Journal of
Instruction, 14(4), 451-462. https://doi.org/10.29333/iji.2021.14427a
452 Adaptations in Conservatories and Music Schools in Spain …

the situation caused by COVID-19 (Hodges et al., 2020). Both emergency remote
teaching and online teaching ideally depend on digital technologies. However, online
teaching is underpinned by an interest in the potential and benefits offered by digital
technologies (Crawford, 2017). In emergency remote education, teachers are forced to
reinvent themselves, without any previous preparation.
In a teaching format that uses digital technologies, special attention should be paid to the
digital competence of educators. This competence is cross-disciplinary and closely
linked to many skills required by citizens to ensure their participation in society (Ferrari,
2013). The digital competence of educators refers to two types of knowledge and skills:
the ability to use digital technologies and skills relating to teaching and methodologies
(Redecker, 2017).
This situation therefore tested teachers’ knowledge and their use of educational
technology. With respect to knowledge, the most widespread assessment model is the
TPACK framework proposed by Mishra and Koehler (2006). This identifies three types
of knowledge: content-related, pedagogical and technological. All three aspects must
interact without any being overlooked, since they all influence each another. The SAMR
model proposed by Puentedura (2015) examines the use of technology in teaching, as
compared with past practice (Dammers, 2019). It proposes four levels to assess the use
of digital technologies: substitution, augmentation, modification and redefinition.
Substitution and augmentation are enhancement steps and represent the use of digital
technologies in existing learning activities. Modification and redefinition are considered
transformative because the learning activity is facilitated by technology to the point
where the activity may not have existed or been possible prior to the availability of a
particular technology. The ideal is to move from enhancement to transformative (Bauer
& Mito, 2017). However, in the case of music education, some authors have pointed out
that the norm is to remain at the lower levels, thus limiting the use of digital
technologies (Calderón-Garrido et al., 2019).
In terms of the potential of digital technologies in music, the Technology Institute for
Music Education (TI:ME, 2019) proposed six areas: 1) Electronic musical instruments
(controllers and synthesizers). These instruments are used to edit timbres and create new
or layered sounds, to carry out performances with recorded accompaniments, etc. 2)
Electronic music production (digital audio, MIDI protocols, sound sequencing and
design). This offers a wide range of possibilities for the classroom, such as editing and
modifying audio and MIDI data, and using DAW software to explore and create
different music styles and genres. 3) Computer music notation. This can be used to
create or adapt the scores of all music to be used with students, to write and edit music
data and link it to other types of music and productivity software, etc. 4) Music
instruction software (educational software, internet-based learning, support tools, etc.).
This includes all types of locally installed and downloaded resources from the web, and
specially designed for the development of skills, such as reading music and listening. 5)
Multimedia development. Multimedia authoring and distributing, different strategies for
gathering, storing, repurposing and distributing analogue and digital media elements
using the web, etc. 6) Productivity tools, classroom and lab resources. This includes the

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Calderón-Garrido, Gustems-Carnicer & Faure-Carvallo 453

use of virtual spaces for storing and distributing data and other general applications,
responsible and productive uses of social networks for communication, distribution of
work, etc. (Calderón-Garrido et al., 2020).
In Spain, music education outside the school setting, at both amateur and professional
level, takes place in music schools and conservatories. Although these centres started
out with a different mission (Jefatura del Estado, 1992), their definition today is much
more blurred and ambiguous (Jefatura del Estado, 2010). Nonetheless, it is possible to
define four levels. The first, which is amateur in nature, does not lead to any type of
qualification and is not regulated by examinations. The remaining three are official:
elementary level with four years, professional level with six years and higher level with
four years. The teachers of instrumental subjects in these official studies are graduates
from conservatories and, in the case of theory subjects, may also be university teaching
staff (Jefatura del Estado, 2010). With respect to teaching aimed at amateur musicians,
there are no regulations. In general, conservatories traditionally lean towards official
education more so than music schools.
In terms of the digital competence of educators at Spanish conservatories, Palau et al.
(2019) concluded that it was generally very low, regardless of the instrument taught or
the gender of the teaching staff, although younger teachers obtained slightly higher
results. In the case of Spanish music schools, the studies conducted so far have only
addressed proposals for activities and resources, without measuring the results obtained
or the educators’ digital competence.
In short, the situation caused by COVID-19 has made it necessary to rethink the music
education offered at these centres and to reflect on learning processes. No previous
study has analysed the changes caused by the pandemic in music schools and
conservatories, so this research seeks to ascertain how music teachers at Spanish music
schools and conservatories conducted lessons during the lockdown. Thus, the aim is to
identify the means and frequency with which teachers communicated with students and
to determine the content that was taught and assessed and the adaptation measures that
were needed to achieve this.
METHOD
To fulfil the objective, an online ad hoc questionnaire was created and administered.
The questionnaire was developed in accordance with Godet’s SWOT analysis (2000),
applied to music education content in a situation of emergency remote teaching in music
schools and conservatories. It also contained questions on the sociodemographic
characteristics of respondents.
The questionnaire was designed by a panel of five music education experts using the
Delphi method (Somerville, 2008). The respondents answered three rounds of test
questionnaires, and the responses were compiled and shared with the group after each
round. In this process, a Cohen’s kappa value of .90 was obtained. The final
questionnaire contained 29 questions that addressed three aspects (sociodemographic
characteristics; communication between teachers and students; teaching and assessment
of music content). The questionnaire consisted of dichotomous questions, multiple-

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454 Adaptations in Conservatories and Music Schools in Spain …

choice questions and open-ended questions. It was administered using the Formsite
platform and a 21-day period was established for responses. The sample was obtained
through the email addresses of the music schools and different social networks. This
ensured that the sample encompassed the whole of Spain.
The results were gathered and analysed using the IBM Statistical Package for the Social
Sciences program, version 21.0. In addition to the usual statistics for a basic analysis,
the Mann-Whitney and Kruskal-Wallis tests were used. Prior to this, the Kolmogorov-
Smirnov or Shapiro-Wilk normality tests were performed on the sample as required. In
addition, Levene’s test was used to check the equality of variance. For the answers to the
open questions, a qualitative analysis was carried out using ATLAS.Ti software, version
1.5.2.
After the final count, incomplete responses (n = 12) and responses from teachers who
had not had any contact with their students (n = 4) were removed. Thus, the final sample
consisted of 259 teachers: 136 women (52.5%) and 123 men (47.5%). The mean age of
the participants was 44.81 years (SD = 9.684). Of these, 69.1% worked in a music
school, 18.5% in a conservatory and 12.4% in both types of centre. The teaching staff
had a mean of 20.85 (SD = 9.647) years of teaching experience.
FINDINGS
In terms of the teachers who were able to stay in contact with their students, the majority
(78.9%) searched for the application best suited to their needs, 19.6% used applications
designed for virtual meetings, provided by the centre itself, and 1.5% maintained contact
through phone calls.
With respect to frequency of contact, most communicated with their students once a
week (49.8%), followed by a couple of times a week (30.1%), daily (16.6%), biweekly
(2.7%) and monthly (0.7%). With respect to coordination between teaching staff, 74.5%
said they had coordinated with the others.
In terms of how they had learned to use the various platforms for communicating with
students, the majority taught themselves (72.5%), and the remainder said that they had
learned through talking to colleagues (17.6%), received training from the centre (8.6%)
or received training from the public authorities (1.4%). Regarding the content taught, the
results are shown in Table 1.
Table 1
Content taught
Was able Differences
Type of content Regularly teaches to continue teaching according
Yes No to the centre
n 220 25 195 X22 = 3.369
Instrumental class
% 84.9% 11.4% 88.6% p = .186
n 101 81 20 X22 = 2.936
Theory class
% 39% 80.2% 19.8% p = .230
Instrumental n 132 37 95 X22 = 2.826
ensemble class % 51% 28% 72% p = .243

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Calderón-Garrido, Gustems-Carnicer & Faure-Carvallo 455

Regarding instrumental classes, most made some kind of modification, such as

Respondent 108, who taught “through the same virtual web service I had already been
using for three years at my music school, but with videoconferencing as a new tool”.
However, some teachers were able to continue with the normal schedule, as with
Respondent 5, who commented “the entire programme had already started and an
audition was scheduled for May, so we carried on as if the recital was going ahead”.
Almost all teachers used various videoconferencing applications to continue teaching
instrumental classes, in addition to including recordings as accompaniments. This was
the case with Respondent 218, who stated that he had “demonstrated technical exercises
with his home piano and asked students to copy him, in addition to sending recordings
of piano four hands playing one of the voices and asking the students to play the other
voice over it”. However, one of the general complaints was that “certain concessions
had to be made, especially in terms of sound and positioning, given the quality of video
calls and the age of the students” (Respondent 20).
In any case, it was clear that the teachers had made an effort to organize classes and
adapt to the situation, as summed up by Respondent 126 when he stated that he had
“reorganized the students and grouped them by levels instead of by programmes, and re-
established objectives and activities”. Sometimes, these adaptation measures were due to
academic regulations, as indicated by Respondent 35 who “generally did not really need
to adapt the curriculum”, although he did make changes “due to bureaucratic procedures
imposed by the centre’s management team”.
Regarding the assessment of instrumental classes, some respondents (n = 8) directly
stated that they would not assess them. The teachers who did assess their students
attached greater importance to the students’ attitudes, as reported by Respondent 20,
who said:
We won’t assess the students, since the teachers have agreed to it, but this third term will be
considered a term for monitoring. That means we’ll assess their attitude, their ability to adapt
and their commitment. Therefore, we’ll focus on values rather than knowledge, despite the
fact that lower-quality material might have been submitted in some cases.
Some teachers decided to assess students through the musical works they had studied,
albeit asynchronously, as indicated by Respondent 201, who applied “continuous
assessment of the assignments submitted by the students and/or audio”.
Regarding theory classes, adaptation measures involving both synchronous and
asynchronous communication were very common, as summarized by Respondent 3
whose teaching methods involved:
…giving explanations via videoconference and receiving assignments by email in Sibelius or
PDF format, returning assignments with corrections and comments, giving explanations and
instructions via WhatsApp voice messages, and responding to queries from students by
telephone or WhatsApp at any time of day.
In some cases, teachers made use of digital technologies when communicating with
students, albeit with some modifications, such as Respondent 81, who taught “through
the same virtual web service I had already been using for three years at my music

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456 Adaptations in Conservatories and Music Schools in Spain …

school, but with videoconferencing as a new tool”. In any case, it was impossible to
monitor students in the same way as before, especially younger students, as confirmed
by Respondent 107, who said, “with basic-level students, I sent assignments every week,
but very few were returned”. Nevertheless, with respect to older students, especially
those who had to pass a level1, attempts were made to maintain the same working pace.
For example:
With respect to students who had to pass the entrance exam for the conservatory, we carried
on doing mock exams from previous years and working on content they hadn’t studied yet.
With professional level students, we focused on analysis and listening through activities
based on films and questions in Kahoot (Respondent 201).
In any case, there were clear failings caused by the move to online teaching. These were
due to the software chosen, the teachers’ digital competence or a combination of both,
as was the case with Respondent 117, who acknowledged “what I found most difficult
was not being able to see all my students’ faces at the same time and not having a
blackboard to improvise explanations and answers”. In addition, the teachers had to
cope with hardware-related limitations, as confirmed by Respondent 12, who said “it
was very stressful, since I was always worried about internet connectivity issues and my
own computer breaking down without any administrative support”.
Moreover, some teachers expressed how difficult the adaptation process was:
It was really hard. I spent hours recording rhythmic lessons, tuned with piano
accompaniments, explaining how it should be done and giving guidelines, explaining it with
theory videos and sending photos with corrections (Respondent 149).
With respect to assessments, participation and follow-up of classes were taken into
account, but preference was given to grades from previous terms, as summarized by
Respondent 46, who planned to base his assessment on:
…the assignments submitted by students, attendance and the interest shown in our
interactions, and whether the assignments responded to the explanations and instructions
given. In principle, students will get the grade they received in the first term, which will be
combined with their work during the lockdown. Only students who want to improve that
grade will have to sit exams.
In any case, some teachers expressed their concern about the differences between the
students, such as the case of Respondent 172, who stated that he would “take the
personal circumstances of each student into account”.
With respect to instrumental ensemble classes, this was the area that underwent most
modifications due to the technological limitations and latency issues of the various
videoconferencing platforms. In this regard, the teachers were categorical in their
responses:
I changed the objective for the academic year. We couldn’t play together, but we were able to
play separately and put music and videos together. We also took the opportunity to focus on

1In Spain, this refers to moving up a level in music studies; in other words, from elementary to
professional level or from professional to higher level.

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Calderón-Garrido, Gustems-Carnicer & Faure-Carvallo 457

the context and functions of musical training and the repertoire. The work centred more on
theoretical aspects than on playing together (Respondent 26).
In this regard, audiovisual skills were key, as revealed by Respondent 94, who
commented that “we made multiscreen video montages that successfully engaged the
students”, and Respondent 165, who said, “they went from giving group performances
to creating audiovisual materials in groups”.
In any case, there is little doubt that the instrumental ensemble was the biggest victim of
the lockdown, since “ensembles and chamber music involved more individualized
exercises” (Respondent 248). This sentiment was also reflected in the following
statement:
At the beginning of lockdown, I kept in weekly contact with my students who had band
classes. They couldn’t play together, but they listened to each other performing individually
and gave each other feedback. Given that these students would have to sit an exam for access
to the professional level, I ended up deciding to use that weekly hour to tutor them on the
works in the exam, instead of continuing with the band repertoire (Respondent 40).
With respect to assessments, given that teachers were not able to keep up the usual pace
of classes, one teacher said, “I assessed the face-to-face work they had completed up
until March” (Respondent 219). Despite this, some assessments were carried out on a
continuous basis by taking account of the work completed during the lockdown, as was
the case of Respondent 226, who said, “I used the audio recordings and multiscreen
videos to assess my students”.
In this regard, it was clear that assessments were adapted to each student’s situation:
I took a personalized approach to assessments and considered not only students’ instrumental
results, but their actual potential given their circumstances during the lockdown (Respondent
162).
A total of 51.1% were able to focus on emotional aspects in their classes during the
lockdown. There were statistical differences according to the type of centre (X22 =
9.901; p = .011), with those working in music schools much more likely to have
addressed emotional aspects (57.8%) than those working in conservatories or both types
of centre (45.8% and 29%, respectively). There were also statistical differences
according to gender (z = - 3.694; p < .001), since women were more likely than men to
focus on emotional aspects (62.7% vs 37.6%).
In some cases, teachers took a more playful approach to music, as was the case with
Respondent 2, who said that “the students had a higher workload than in face-to-face
classes, so I recommended that they play for fun for a while. I told them to play
whatever they wanted and not just the pieces they had been assigned to work on”. Thus,
the teachers acknowledged the role played by music and art during the lockdown, since
it had “helped both musicians and society as a whole to cope with the lockdown. We’ve
seen it every day. All of society has relied on music at the most challenging moments”
(Respondent 187). Without question, the situation provided a source of inspiration for
many students, as revealed by Respondent 95, who said, “We focused on creation based
on texts and drawings produced by the youngest kids to express their daily emotions

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458 Adaptations in Conservatories and Music Schools in Spain …

during the pandemic”. There is little doubt that, during this health crisis, “music offered
our students an escape from the reality of the situation” (Respondent 257).
DISCUSSION
During the lockdown caused by the global pandemic, emergency remote education took
on a central role. Nevertheless, as borne out by this research, the communication
channel sometimes failed, which made it impossible to continue classes as normal. As
reported by Morgan (2020), this has been a common feature in all countries and
disciplines due to internet access issues experienced by both teachers and students.
In the case of teachers who were able to continue working, most searched for the
application that best suited their needs. In this regard, the lockdown involved exploiting
the resources and platforms that worked for them, even when they had not been
designed for educational purposes (World Bank, 2020). With respect to training on
these resources, our research was consistent with a study carried out by the authors
(2020) among music teachers, in this case at university level.
In these interactions between teachers and students, different frequencies and habits
were established, which involved both synchronous and asynchronous communication
(Yoon, 2019). This allowed both teachers and students to access the different resources
when it was most convenient for them (Tria, 2020). Thus, some of the benefits of
technology were uncovered during the pandemic, and allowed students to access
knowledge when it best suited them (Toquero, 2019).
With respect to the music content taught during the lockdown, the teachers at
conservatories and music schools experienced the same latency issues described by
Daubney and Fautley (2020). This meant that content in which sound, synchrony and
quality played a central role was hardest hit. For the most part, therefore, instrumental
and ensemble classes were discontinued in both music schools and conservatories.
With regard to instrumental classes, the use of videoconferencing was crucial for those
who were able to continue teaching. However, an analysis of the teachers’ responses
indicates that this was limited to replacing face-to-face classes. Thus, according to the
SAMR Model (Puentedura, 2015), this use represented the lowest level of technology
integration, given that much of the potential of these digital technologies was
squandered.
Regarding ensemble classes, the responses revealed adaptation measures in which the
asynchronous use of audiovisual resources took on a leading role. The most common
approach involved viewing videos prepared by teachers or creating multi-camera
montages. This was common in all countries (National Association for Music Education,
2020) and across all disciplines (Guo & Li, 2020). In this regard, pre-recorded videos
already represented a very common resource in music education (Bautista et al., 2019).
With respect to music theory, our research reveals that this was the least affected area.
However, in many cases, the results depended on teachers’ prior knowledge and their
attitude towards ICTs. This, as explained by Ju et al. (2016), is crucial for achieving
good results when using digital technologies as a facilitator in educational processes.

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Calderón-Garrido, Gustems-Carnicer & Faure-Carvallo 459

On a generic level, the pandemic gave rise to a collaborative spirit among music
teachers around the world, who shared their resources in different ad hoc repositories
such as #CanDoMusic (2020). Even associations such as the National Association of
Music Merchants issued guidelines on how to prevent a fresh outbreak, including
instructions for social distancing in music classrooms (Dale, 2020).
With respect to the assessment of content, the research revealed that most teachers
resorted to using the grades previously obtained by students, with or without taking
account of their attitude towards the knowledge acquired during the lockdown. This was
a common theme in all countries (Daubney & Fautley, 2020).
In any case, with respect to the content taught in instrumental, ensemble and music
theory classes, it should be noted that no statistical differences were detected based on
age or gender. This finding is at odds with studies by Lamschestein (2010) on the
generation gap and Almerich et al. (2005) on the gender gap in the use of ICTs.
With regard to emotional aspects, the pandemic and lockdown gave rise to both negative
emotions, caused by uncertainty and a fear of losing loved ones (Posner et al., 2005),
and positive emotions, as a result of reflection and family time (Brooks et al., 2020).
Using music to manage the negative emotions caused by COVID-19 has been shown to
offer clear benefits in terms of reducing stress and improving well-being, as reported by
Giordano et al. (2020). Thus, the statistical differences observed may have been due to
the age of the students, given that students at music schools are younger and emotion-
based activities are more likely to be carried out with younger students. In any case, it
was encouraging to observe how students were able to use music in a productive and not
solely responsive way to cope with daily life during the lockdown.
CONCLUSIONS
In short, the situation caused by COVID-19 sped up the developments that were already
under way in virtual music teaching, such that many teachers, even if only due to current
needs, explored the potential offered by online teaching (He, 2020). In this respect, this
study detected a lack of training among teachers and a shortage of resources that must
be addressed as soon as possible. No one knows what the future holds for music
education, but one thing is clear: it will be different. However, as has occurred with
music consumption and the shift in preferences towards visual formats (such as
YouTube) at the expense of recorded music (Sim et al., 2020), the lockdown has given
rise to new recruits eager to receive musical training after seeing how teachers used
social networks to teach musical instruments (Botstein, 2020). Undoubtedly, a
prospective of this research is to analyze if the changes made have been successful and
if they have lasted in time. Likewise, it is suggested to investigate whether the training
of future music teachers after COVID-19 includes more education in digital technology
to solve future problems.
In conclusion, COVID-19 has served as a catalyst for educational change, for rethinking
the what, how and where of the teaching and learning process (Zhao, 2020). To achieve
this, digital competence is key. Our results indicate that teachers in Spanish music
schools and conservatories must further develop these skills to effectively tackle future
changes.

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