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Journal of Music, Technology & Education - Current Issue

Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives

Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives, Apr 2023

  • Editorial

      • Editorial

        https://doi.org/10.1386/jmte_00045_2

        The Guest Editors introduce the Special Issue: ‘Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives’. As the body of research on audio and music technology continually expands, the guest editors provide a brief overview of emerging scholarship on music technology education (MTE) from various disciplines and theoretical perspectives and their implications for teaching and learning. After a summary of the articles in the issue, the Guest Editors conclude with implications for future music and audio technology research in educational settings.

  • Articles

      • Welcome to the glitch and make some noise: Understanding media through audio hacking

        https://doi.org/10.1386/jmte_00043_1

        This article describes the experimental examination of various audio devices and their storage media, such as the radio, the tape recorder and the CD player, in the context of interdisciplinary university courses in arts and humanities, particularly cultural studies, with a focus on music production, sound studies and audio culture. Glitches and intrinsic noises become perceptible as aesthetic material by means of hacking and modifying audio technology failures. Following Marshall McLuhan’s concept of media, it is clear that the audio technology itself, not just the transmitted content of a piece of music or radio programme, is the . Examples of diverse aesthetic strategies that account for various artists’ positions are presented in detail. These strategies have been the subject of a seminar that has been held several times at two different universities in Germany, addressing interdisciplinary groups of students. Unconventional, hands-on approaches to the different media devices have been evaluated positively by the participants.

    • Reflective journals in music production pedagogy: A case study

      https://doi.org/10.1386/jmte_00044_1

      Record-keeping, reflective practice and thinking have been identified as key facets of music production activities. This exploratory, qualitative study explores the keeping of reflective journals as part of a third level music production training programme. Semi-structured interview techniques, followed by thematic analysis, were used to gather the perspectives of students and lecturers on journal-keeping and roles that might play in professional practice. Two implementations of online journaling are contrasted with participants preferring a peer-facing Instagram implementation, shown to have an effect on record-keeping practice and indications of promoting reflective learning and practice. There are strong indications that reflective journaling has significant benefits to music production pedagogical practice, in particular for components that focus on complex practical music production projects.

    • ‘Animated Sound’: An application of digital technologies and open scores in interdisciplinary collaboration and education

      https://doi.org/10.1386/jmte_00046_1

      We describe a collaborative project carried out with an ensemble of amateur adult musicians in which a participant created a composition derived from her background as an animator in conjunction with the appropriation of interface elements used in digital animation software. Conceived of during the 2020 quarantine for online performance with an undefined instrumentation of acoustic and electronic sound sources, subsequent versions have been created for film soundtracks, ensemble concerts, live-scoring/coding audio-visual presentations and solo performances. These diverse realizations are analysed through two frameworks. The first, adapted from an analysis of the embodiment of values in digital games, indicates that the community-oriented values present in early ensemble versions are replaced by more typical aesthetic values, such as complexity and virtuosity, as the work evolves from one realization to another. The addition of notational and technical elements presupposing conventional musical training results in a particularly profound shift in the perceived nature of the composition. The second framework addresses this divergence in embodied values by expanding the role of the instructor/facilitator in educational and socially engaged practices, situating artistic control and outcomes alongside functions of learning and inclusivity.

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