CHAPTER 1

THE PROBLEM

Introduction
We have had face-to-face conversations throughout the century. In this study, learning-
disabled postsecondary students' experiences with online learning are examined. The
introduction and background information about students who struggle with online learning, the
work they put in, and the difficulties they encounter in higher education are presented in Chapter
1 before three current, troubling trends in higher education are covered: (1) the benefits of
online music education for students; (2) the difficulties students faced when learning music
online; and (3) what coping mechanisms they use. Additionally, this chapter describes the what,
why, and how of this study, including the problem statement, the purpose of the study, the
research questions, and the objectives. The what, why, and how are recognized as well as the
conceptual framework, theoretical sensitivity, analytic rigor, study parameters, and limitations.
If a learner can't study enough, it will have a significant impact on their life. They may be
losing interest in participating and attending class because of this, perhaps. There is a lot of
distraction, which causes pupils to lose interest in their learning objectives.
Know their reason in how they cope up problems and how they handle obstacles is
certainly a must, this paper tells us problem for us to do solutions and to make students learn
more without hassle.

RESEARCH QUESTIONS
The main focus of this case study is to know what they feel in the online studying and
how it affects their mind and interest that. A research question becomes, ‘’What impacts would
the online learning do towards the student learning?’’ along our main question here are some
sub questions that will help to guide this study;

*What are the advantages that students benefitted in online music education?
*What are the challenges that the students encountered in learning music subjects online?
*What coping strategies do the students exert to overcome the challenges they encountered in
learning music subjects online?
 SIGNIFICANCE OF THE STUDY

This study is significant to the Students, Administrators of NAC, Teachers, and other
researcher.

Students. This will be significant to the students for them to be successful in school
particularly on their academic performance.

Teachers. This study will give them knowledge on how to handle and adjust when the
problem happened.
Administrators . This research study in some way will enable the school administrators
to be aware and take action on what is lacking in the institution.

Researchers. The researchers in the near future will make use of the result of our study.
This study will serve as their basis and comparison to their study.

Scope and Limitation

The study is limited only to the students who took up online music subjects with 4 boys and 6
girls. This will show the impact of the online in the students learning or their performances.
Conceptual and theoretical framework

Input Process Outcome

The research portrays The research process goes Questions are answered and
on the observation and the the troublesome bleep of the
The situations of a
way we gathered challenges is clarified.
Student if the music subject information’s in the study.
will be learned online
Is not relevant to make
Students participate in
Class.
Figure 1 shows that the Input is all about the research study, the process is the advocacies that
will be in the research study, and the outcome is the result of the effects of the online learning of
the students.
 CHAPTER 2
REVIEW OF RELATED LITERARTURE
This chapter presents the literature and studies related to the study which guides the researcher
in the completion of their work. These relevant related studies, literature, and summary of
research findings both local and foreign provide clear insights and a strong basis that firmed up
the assumption of the researchers.
Adjustments and Adaptation
Online learning system has become wide and useful especially given the current
pandemic context generated by COVID 19. It brought a lot of great changes and challenges in
the way specific subjects to music education are taught. Michelle (2021) stated that the
transition to online learning has implications not only for teachers, who need to change their
courses but also for students, who need to adapt to the new learning environment. Educators
and parents are taking notice and many are considering whether the shift to online education
will lead to lasting changes for students who move out of the classroom.
In conjunction with the alarming pandemic who had very serious safety protocols, social
distancing is part of the drill. However, Rucsanda, et al (2021) articulated that social distancing
and imposed restrictions influenced in-person education, especially affecting music education.
Thus, as concerning music education in Romania, higher education music institutions were
forced to adapt and evolve. As in many universities around the world, in Romania, too, we
witnessed an unprecedented migration from the face-to-face music education to remote
teaching methods, to ensure the normal functioning of education and to constrain the spread of
a transmissible virus such as COVID-19.

Online Music Education Experiences

As an integral part of our experiences as people, music serves as a language: to
communicate and build our cultural identities, convey our emotional experiences, and explore
our passions. With this amazing transformative potential, it is no wonder that music is being
used by educators across the world to build positive classroom environments and support
young people in their personal and academic development. Brewer (2012) quoted that music is
a powerful tool for our personal expression within our daily lives– it helps “set the scene” for
many important experiences.
In terms of online learning, Biasutti (2015) stated that positive learning outcomes for
music students using the online and ICT environments include flexibility of location and
decrease of equipment changes. Kumar (2015) stressed that many students are not provided
with the high bandwidth or the strong internet connection that online courses require, and thus
fail to catch up with their virtual classmates: Their weak monitors make it hard to follow the
Course Management System and their learning experience becomes problematic. Brewer
(2012) quoted that music is a powerful tool for our personal expression within our daily lives– it
helps “set the scene” for many important experiences.
 Polyak (2020) stressed that her dad, who is over 80, is mastering the new art. When
asked how he likes it he says, “The sound often freezes, the details are hard to follow. Cannot
do much about it so you do the best you can.” A friend of hers who is a music teacher is also
mastering the new experience. “It is not ideal,” she says. “One loses many details during the
lesson due to sound quality. It is impossible to truly show the student on the keyboard. Small
children have more difficulty concentrating on what is going on the screen than their adult
counterparts. It is always some kind of a compromise.” Online resources where people ask
about how to achieve low latency say there is no good solution. “The best way is to be mindful
of the issue.” Here’s a quote from a video on YouTube made by Fossgreen (2020) – How
Teaching Online is Different: “Latency: Because there’s a slight delay on video calls, you CAN’T
play along with your students. By the time they hear you, there’s a delay (called “latency”), and
then it gets doubled on its way back when you’re hearing them.” So, it seems that good network
quality is crucial. In order to be able to teach well you need to literally listen for details and be
able to react quickly.

Advantages of Online Music Education

Gautam (2020), pronounced that online learning offers teachers an efficient way to
deliver lessons to students. Online learning has a number of tools such as videos, PDFs,
podcasts, and teachers can use all these tools as part of their lesson plans. By extending the
lesson plan beyond traditional textbooks to include online resources, teachers are able to
become more efficient educators. Another advantage of online education is that it allows
students to attend classes from any location of their choice. It also allows schools to reach out
to a more extensive network of students, instead of being restricted by geographical boundaries.
Additionally, online lectures can be recorded, archived, and shared for future reference. This
allows students to access the learning material at a time of their comfort.
Rucsanda, et al (2021) stated that the perceived compatibility of e-Learning methods
with online music education led to a higher perceived utility which, in turn, predicted a higher
satisfaction toward e-Learning. Although this period accentuated the fear of interaction with
others, the anxiety related to the unknown, the intolerance of uncertainty did not predict the
satisfaction toward the use of e-learning platforms. In conclusion, more educational initiatives
are needed to promote remote teaching methods in music education.

Challenges in Learning Music Online

According to Gautam (2019) one of the key challenges of online classes is internet
connectivity. While internet penetration has grown in leaps and bounds over the past few years,
in smaller cities and towns, a consistent connection with decent speed is a problem. Without a
consistent internet connection for students or teachers, there can be a lack of continuity in
learning for the child. This is detrimental to the education process.
Martinez (2020), one of the main aspects that influence the transition to online learning
is communication. The traditional model of education enables students and teachers to interact
freely. In terms of music education, McGilvray (2021) reckoned that visibility is also one of the
challenges due to the entirely virtual nature of such lessons, your face, hands, and instrument
will need to be clearly visible in your webcam’s range. Ensuring that everyone can see you
clearly will help catch any mistakes you might be making with your instrument, and is important
to correcting these errors, developing your skills, and receiving effective feedback. According to
an article from National University (2022), in an in-person setting, communication happens
instantaneously, making it easy for students to get answers and clarify points of confusion. In an
e-learning setting, communication is often asynchronous, which means there’s a gap between
teacher and student. It’s easy for misunderstandings to develop in these gaps—sometimes,
allowing a problem to snowball before it can be corrected.
Martinez (2020) further proclaimed that eLearning can cause a negative effect which is
often called “lost on the internet.” When having too much information available, students can
lose direction and get disoriented by lots of irrelevant information. The main reason why
students may deal with this problem is not the abundance of information itself but the lack of
clarity when it comes to instructions. Without real-time interaction with the instructor, students
may not be sure about what is expected of them, and what exactly their task is. Therefore, it’s
important to provide students with clear instructions and to make them as detailed as possible.
An article from National University (2022) further revealed that providing feedback is one of the
most important and meaningful ways that a teacher engages with a student. When feedback is
delayed by additional days or weeks because of an online format, students can become
confused or uncertain about your expectations, their progress, and their performance in your
class.
Martinez (2020) once again stressed that one of the challenges associated with
eLearning is a lack of motivation. Students’ motivation directly depends on how engaging their
online courses are. If a course is boring, they will likely feel not motivated enough. When in
class, students can get additional motivation from their peers and teachers, but this is
impossible when studying online. Swallow (2019), determined that motivated student will go far.
Even students with moderate talent can succeed with motivation and the drive to practice and
improve. You really can’t encourage motivation in a student when they just don’t want to play or
practice. This is often due to the parent wanting the lessons, not actually the student. Motivation
is best encouraged by improvement and this in turn by practice which requires motivation in the
first place. Which leads to the challenge of commitment. Swallow (2019) once again stressed
that many students would like to be able to play a musical instrument but truly lack to the
commitment needed to do so. Many hours of practice are required every week to be able to
master rhythms, technique and repertoire. Students see their teacher or other artists performing
with ease and fail to understand the depth of the commitment that was needed to achieve this
standard of excellence, which then leads to the challenge of assessing progress. Progress is
subjective and can only be measured incorporating effort, the amount of practice achieved and
the improvements gained over a specific amount of time. Comparing one student to another is a
recipe for disaster as everyone has different capability, talent, and learning abilities. The best
gauge of progress is a measure of improvement over effort by the individual student.
Michelle (2021), uttered, one of the most important consequences of the transition to
online learning is its impact on students' health and sleeping habits.
Coping Strategies in Overcoming the Challenges
McGilvray (2021), articulated that the first step to keep your physical and digital space
tidy is to organize your space. Keep in mind what is visible over your webcam, including
backgrounds, desk space, or even your pets. And when it comes to digital housekeeping, you
will certainly find your experience enhanced when you keep your files and information sorted
and stored for easy online access and keeping your computer desktop spick and span. Also,
organize your calendar. Though remote learning or teaching definitely offers you more flexibility
in your days, it’s important to keep on top of your schedule. By ensuring that your calendar is
organized and tells you exactly the commitments and courses you have daily, you will make
your workday go much smoother and be more productive. National University (2022), stated
that effective time management is a fundamental skill for distance learners. Encourage your
students to take advantage of the numerous time management apps and resources that are
available to e-learners — many of them for free.
McGilvray (2021), continued that another important aspect to the best remote
experience is your selection of lesson platform. While there are plenty of options, such as
WhatsApp, Google Hangouts, Microsoft Teams, and more, it seems the most popular platforms
are Zoom and Skype. Each has different benefits, and based on your lesson plan, priorities, and
budget, you can decide which platform is best for your needs. He also shared about internet
connection. It may go without saying, but always make sure to check your internet connection
before a lesson. Connectivity issues can plague even the best internet setup, so ensuring that
your connection is strong beforehand will save you and your students a lot of time. If you find
that buffering times are an issue, you can always try disconnecting other devices from your
internet connection, which should allow more broadband for your lesson. Also, make sure that
your setup is in a well-lit room, preferably with natural lighting sources. This is key to ensuring
that your finger positioning is clearly visible on your instrument, so that your feedback and
progress will be the most beneficial, maximizing your time and effort.

Advantages of Face-to-Face Learning

Every person learns differently and works more efficiently in different settings. Millions of
articles highlighting the advantages of working and studying at home have been published in the
years since the pandemic began. While there are many advantages, many people are
questioning whether they want to stay at home now that life is returning to normal. As for music
education, most feedbacks had been negative ineffective learning, given the fact that it is of
more performance and practices rather than academic skill.
Reyes (2022), asserted, in-person lessons make the student learn effectively, according
to Kentucky's research (2022) on online learning proved that online lessons have more
distractions. Reyes (2022) further continued that staying focused on online classes is a
challenge. Separating home life and class time, not following a routine schedule, and the
distractions at home, caused students not to be able to concentrate well with their classes. As a
result, students tend to procrastinate and set things aside, then deadlines are missed. Some of
the advantages are, teachers can physically correct students’ wrong placement (in
instruments/voice pitch), students can use the school’s high-quality instruments, teacher-student
duet, and students can bond with the teachers and the staff, and effective and high-quality
teaching. Sage Journal’s research on In-Person Learning (2022) shows that in-person students
value “mattering” or giving importance to learning than other students who study online who give
less mattering. In-person students have more compliance on submissions and are more eager
to learn as they meet people physically and undistracted from online disturbances.
An article from headspace (2022), claimed that some advantages of face-to-face
learning is that you'll be able to concentrate harder on your learning because there’ll be less
distraction than if you were at home. Second, you can gain greater understanding, stories and
real-world examples from teachers and other students. Third, you have a greater chance of
completing your course successfully by doing it in a classroom situation. (Completion rate of
teacher-led classes is almost 5x higher than that of online learning) You may feel more
comfortable and learn more easily in a familiar, traditional classroom situation. Next, you can
access more information and richer understanding through teacher and other students’ body
language and voice. Lastly, you have the opportunity to connect with, problem-solve, and
network with other students from a wide range of backgrounds.
 Chapter 3
RESEARCH METHODOLOGY

This chapter discusses the research method used for the study. It includes the research design,
research participants, and data gathering procedure

Research Design
This study utilizes Husserl’s transcendental phenomenological research design, which is a
philosophical approach to qualitative research methodology in pursuing to understand the
individual’s lived experiences within the world (Moustakas, 1994). This qualitative approach will
be used to completely traverse distinction of Students who have music subject. Chambers
(2013) describes phenomenology as a qualitative approach of research that focuses on the
similarity of the existing experience within a particular group.
This approach seeks the relationship between subject and object through background, content,
act and horizon and investigates as subjects how we experience objects (McIntyre and Smith,
1989). It will provide a description of the experiences of the students with an emphasis on
discovery and meaning, thus, the approach is deemed appropriate to be used in this study.

Research Participants
There are 10 participants involved in the study who have music subject on online modality.

Sampling Procedure
The researcher made use of purposive sampling whereby the participants will be selected
based on the purpose of the study. Purposive sampling according to Dudovskiy (2018) is a
special kind of non-probability sampling in which the data collection relies on the objectives of
the researcher. It will provide a description of the challenges and coping strategies of the
teachers with an emphasis on discovery and meaning, thus, the approach is deemed
appropriate to be used in this study.
The qualification to be considered in selecting the participants as valid sources of information
are the following: (1) The students of Bachelor of Culture and Arts Education; (2) The students
of Bachelor of Music Education; (3) The students of Bachelor of Elementary Education.
Research Setting
The study will be conducted in Lourdes College, Cagayan De Oro City where the students who
have music subject.

Research Instrument
This study utilizes a face-to-face interview to gather the responses from the participants. In
making the questionnaire, emerge into 3 major questions: (1) What are the advantages that
students benefitted in online music education? (2) What are the challenges that the students
encountered in learning music subjects online? (3) What coping strategies do the students
exert to overcome the challenges they encountered in learning music subjects online? This kind
of interview encourages the researcher and the participants to engage in a conversation where
questions are modified in the light of the participants’ responses.
Research Ethics
The School Research Protocols will be observed by the researcher to ensure the quality and
reliability of the study and research findings. The school research protocols are as follow:
First, the researcher will seek approval from the adviser after intensive and careful assessment
and review of the manuscript for the research. The approval of the Dean who involves in this
study will also be requested for the schedule of the defense proposal. After the oral defense, the
researcher will accomplish the Research Ethics application form and submit it to the Vice
President for research publication, and Extension together with the approved research proposal
Second, the review of the Proposal and Research Ethics form for completeness and compliance
following the school format and guidelines will then be conducted by the associate director for
Research and Publication Office. The research ethics form will then be forwarded to the RPO
Director and Vice President for Research, Publication, and Extension for further review and
approval.
Finally, the researcher will send two different kinds of consent letters addressed to the Dean
and students of Bachelor of Culture and Arts Education, Bachelor of Music Education and
Bachelor of Elementary Education to allow the researchers to conduct the study and the
participants to express their willingness to take part in the study. The samples of the consent
letters are in Appendix B. Once approved, the researcher will schedule the observation and
interviews with the teacher participants. The researcher will personally conduct the Face-to-face
interview. All interviews will be digitally recorded for later verbatim transcription. Before the
recording, permission, and consent will be sought for Data privacy act compliance. Pseudonyms
will be used to maintain the anonymity of the participants.

Data Gathering Procedure

In the data gathering, the researcher will interview individually the student who have music
subject. At this time, the school have a limited face to face class, the researcher can visit the
participants, thus, face to face interview will be conducted. To aid in the data collection process,
a thorough conversation, sharing of personal experiences through a Focus Group Discussion
(FGD), conversational interview will be done with the purposely selected participants. This aims
to develop a deep understanding of the phenomenon and to create a dialogue between the
participants and the researcher.
After the consent are collected, schedule of interview will be discussed with the participants.

Methods of Data Analysis

After gathering the relevant data of the study through the responses of the participants, data
analysis will follow utilizing a Narrative approach. The transcribed data from a recorded video of
the interview will be collected. Through this process, the researcher will narrate the answer form
the participants through apprehend the video recorded.
 References

Biasutti, M. (2015). Assessing a collaborative online environment for music composition’.

Journal of Educational Technology and Society. Retrieved November 22, 2022.
Brewer C B (2012). John Hopkin’s Study: Integrating Music in the Classroom. Retrieved
November 20, 2022, from http://frequencyoflearning.com/john-hopkins-study-integrating-music-
inclassroom/?
fbclid=IwAR3acd3SIVjz9R3qnkuZJf3ABA_zIvmXL71paaaNRpza1O48Pgo3lMniDXI
Fossgreen J (2021). How To Teach Online Lessons (For All Music Teachers). Retrieved
November 22, 2022, from: https://www.youtube.com/watch?v=BuWDBhcD8IE
Gautam P. (2020). Advantages And Disadvantages of Online Learning. Retrieved November
20, 2022, from: https://elearningindustry.com/advantages-and-disadvantages-online-learning?
fbclid=IwAR0Faw1dmqBFSqgz2RW_gGemr66S8J_VdX9u6K6tHyCswin_M3o2wKP1dVc
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fbclid=IwAR0T060AQcZzRz7w6ejgosPo0V_jYwt46hrg-S-
AxJ8EqgwdMpMLhuc1wL8#:~:text=The%20Advantages%20of%20Face%20to,if%20you
%20were%20at%20home.&text=You%20may%20feel%20more%20comfortable,a%20familiar
%2C%20traditional%20classroom%20situation
Kentucky (2022). Mental Health Effects of Online Learning. Retrieved November 22, 2022, from:
https://kentuckycounselingcenter.com/mental-health-effects-of-online-learning/?
fbclid=IwAR3DXOPtxHOIz7wrRe1pzXq1n893iir7WqjsBnox8GF_xONTWaFo9qo9byI
Martinez R. (2020). 6 Challenges Of eLearning That Educators Should Strive To Overcome.
Retrieved November 20, 2022, from: https://elearningindustry.com/challenges-elearning-
educatorsovercome?
fbclid=IwAR0zDCUX9_jHN4DOaKGMxQdsSqabtMmqZJPGGrp14XyIZ74iBsxsONuX2wE
McGilvray D. (2021). Remote/Distance Learning Music for Students/Teachers. Retrieved
November 20, 2022, from: https://octaneseating.com/blog/guide-to-remote-learning-music?
fbclid=IwAR3W4OFk_XMMo6KLkhu6fEx9wj2QEVIY_zPH5brgwfAbdsxq6eE2_2hCYG4
Michelle, E (2021). Side Effects of Online Education. Retrieved November 20, 2022, from
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O9Rdr3D4PwGqSac_oDFB14dPtsvoZcM7IrjVzKX0
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20, 2022, from: https://www.nu.edu/blog/challenges-of-distance-learning-for-students/?
fbclid=IwAR1qGh6_7VAg1EjPfNIfdAZTeeGW9u1WbPZeNfxn05pI6WVy4qwJnUqJG_c
Polyak A. (2020). The Difficulties of Online Music Lessons and Performances. Retrieved
November 20, 2022, from: https://ceeblue.net/the-difficulties-of-online-music-lessons-and-
performances/?
fbclid=IwAR3acd3SIVjz9R3qnkuZJf3ABA_zIvmXL71paaaNRpza1O48Pgo3lMniDXI
Reyes M. J. (2022). Benefits of In-Person vs. Online Music Lessons. Retrieved November 22,
2022, from: https://www.creativesoulmusic.com/blog/benefits-to-in-person-vs.-online-music-
lessons?fbclid=IwAR3DXOPtxHOIz7wrRe1pzXq1n893iir7WqjsBnox8GF_xONTWaFo9qo9byI
Rucsanda et al (2021). Students' Attitudes Toward Online Music Education During the COVID
19 Lockdown. Retrieved November 20, 2022, from
https://www.frontiersin.org/articles/10.3389/fpsyg.2021.753785/full?
fbclid=IwAR2Oim1GL5p2e5hGkf6q9KIACPX_s0uJcd2rXWkH6yyDIEoE0cXgY9c-NqU
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Swallow K (2019). The 6 Biggest Challenges in Music Education. Retrieved November 20,
2022, from: https://www.dynamicrhythms.com.au/blog/the-6-biggest-challenges-in-music-
education/?
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 APPENDIX A
Informed Consent Form for Participants

Name of Principle Investigator: Mary Antonette M. Dagaraga, Kennyben M. Gallogo and

Queenly Lou S. Jayoma
Name of Organization: Arts and Sciences Program
Name of Sponsor: None
Name of Project/Study Title/Study Protocol and Version

A Phenomenological Study on Online Music Education: An Experiential Account

This Informed Consent Form has two parts:

• Information Sheet (to share information about the study with you)
• Certificate of Consent (for signatures if you choose to participate)
You will be given a copy of the full Informed Consent Form

PART I: INFORMATION SHEET

INTRODUCTION
The proponent of this research study is currently taking Bachelor of Music Education at
Lourdes College, Cagayan de Oro City. You are invited to participate in this research study
entitled: A Phenomenological Study on Online Music Education: An Experiential
Account. Your participation will involve self-evaluation concerning the current status of your
present job. You will be given some time to reflect on whether to participate in this research
study or not after the background of the research study has been presented to you. You are
encouraged to ask questions at any time if some words are unclear to you.

PURPOSE OF THE RESEARCH

This study was designed to explore the experiences of the students who take the music
education subject. It explored their opportunities, challenges, and coping strategies to
overcome the challenges they experience during online modality. The findings of the study
would provide substantial information and clearer insight into the importance of experiences
as the basis for understanding a particular phenomenon to the students.

TYPE OF RESEARCH INTERVENTION

This research study involves an interview and Focus Group Discussion (FGD) which will be
conducted personally by the researcher by face-to-face mode.

PARTICIPANT SELECTION
Ten (10) Filipino Students who take Music Education Subject involved in the study.

VOLUNTARY PARTICIPATION
Your participation in this research study is voluntary. You may choose not to participate and
you may withdraw your consent to participate at any time. You may also request not to
include or use the information you have already provided. You will not be penalized in case
you have decided not to participate or withdraw from this study.
PROCEDURES
The research involves a semi-structured interview and Focus Group Discussion (FGD). The
schedule for the interview and FGD will be sent to you via email asking also your
availability. The interview will be conducted face-to-face mode. After the schedule is
arranged, the researcher will conduct the interview on the arranged schedule. You will be
interviewed personally and in a group of 3. These participants have similar experiences to
you in online learning. You will be asked questions about your experiences particularly your
opportunities, challenges, and coping strategies in online learning. If you are not
comfortable answering some questions, you are not required to answer all the questions.
The researcher ensures that the responses remain confidential, and nobody, other than the
researcher will have the access to the information provided and will know the individual
response to the questionnaire.

DURATION
The interview consists of 9 questions which may last for 20-30 minutes or less depending
on the occurrence of evaluating their personal condition at work.

RISKS
There are no known risks associated with this research study. Your answer will be based on
your personal experience as Student taking Music Education Subject

BENEFITS
This research study may help us in understanding the experiences of Music Student in
online learning.

CONFIDENTIALITY
Although the nature of this research is not risky at any rate to anyone, your privacy will be
protected nonetheless. Your responses will remain confidential and anonymous. Nobody,
other than the researcher will know your answers to the interview. Also, your identity will not
be revealed in any publication resulting from this study. The collected data will then be
discarded after it has served its purpose.

SHARING THE RESULTS

The finding of this study will be kept confidential after it serves their purpose. However, you
will be informed if shared through publications and conferences.

RIGHT TO REFUSE OR WITHDRAW

Your participation as a participant is completely voluntary. You may choose not to
participate and you may withdraw your consent to participate at any time. If you feel that
some questions seem too personal, you may have the right not to answer or skip the
question.

WHO TO CONTACT?
If you have any questions or concerns about this study, or if you have questions or
concerns about your rights as a research participant, please contact Mary Antonette M.
Dagaraga (mary.dagaraga@lccdo.edu.ph) Queenly Lou S. Jayoma
(queenly.jayoma@lccdo.edu.ph) and Kennyben M. Gallogo
(kennyben.gallogo@lccdo.edu.ph)

PART II: CERTIFICATE OF CONSENT

I have read the foregoing information, or it has been read to me. I have had the
opportunity to ask questions about it and any questions I have been asked have been
answered to my satisfaction. I consent voluntarily to be a participant in this study.

Print Name of Participant: _________________

Signature of Participant: ___________________
Date: [MM/DD/YYYY] ___________________

STATEMENT BY THE RESEARCHER OR PERSON TAKING CONSENT

I confirm that the participant was given an opportunity to ask questions about the
study, and all the questions asked by the participant have been answered correctly
and to the best of my ability. I confirm that the individual has not been coerced into
giving consent, and the consent has been given freely and voluntarily.
A copy of this Informed Consent Form has been provided to the participant.

Print Name of Researcher or person taking the consent

Mary Antonette M. Dagaraga

Kennyben M. Gallogo
Queenly Lou S. Jayoma
Signature of Researcher or person taking the consent
 APPENDIX B
INTERVIEW QUESTIONNAIRES
Semi-Structured Interview Questions

The Semi-structured interview questions will be drawn from this explicit Question:
What impacts would the online learning do towards the student learning? And dissecting
into prompts that are more specific, gentler, and less loaded questions to elicit clear and
suitable responses. The experiences are categorized into three: opportunities, challenges,
and coping strategies

Dear Students,
The instrument intends to gather data about your experiences as Music Students.

For this study to attain its objective, may I request you to please answer the
questions in these questions during the Focus Group Discussion (FGD). Rest assured that
all your answers will be dealt with the utmost confidentiality
Thank you very much.

Mary Antonette M. Dagaraga

Kennyben M. Gallogo
Queenly Lou S. Jayoma
Researcher

A. Opportunities

1. What are your unforgettable positive experiences during online session with music
education subject?
2. What are the benefits you enjoy in online class?

B. Challenges

1. Can you share some negative experiences you have in online session in music
education subject?
2. What are the personal problems and difficulties you encountered during online session
with music education subject?
4. What do you think are the disadvantages of learning online modality?

C. Coping Strategies
1. How did you resolve the conflicts or problems you encounter?
 2. What coping strategies do you employ in facing those challenges or negative
experiences?
3. What do you think are the best ways to overcome the problems and difficulties you
encountered?
4. What advice can you give to the students who enrolled in music education subject
encountered problems and difficulties while in online modality?
 APPENDIX C

LETTER OF CONSENT

LOURDES COLLEGE
Hayes, Capistrano St.
9000, Cagayan de Oro City

November 21, 2022

Dear Ma’am/ Sir:

Greetings!

The undersigned is a student of Lourdes College who is currently conducting a

research study entitled “A Phenomenological Study on Online Music Education: An
Experiential Account” as a requirement of Music Research Subject. The data and other
information derived herein will be kept with the utmost confidentiality and will be used for the
sole purpose of the study.
In line with this, I would like to ask your kind permission to join for a Focus Group
Discussion (FGD) with the other participants by face-to-face. Rest assured that I will
observe the institution's research protocol in the conduct of this endeavour. Your approval
regarding this matter is highly appreciated.

Thank you very much.

Adelante!

Respectfully yours,
Mary Antonette M. Dagaraga
Kennyben M. Gallogo
Queenly Lou S. Jayoma
Researcher