Pop vs rock: A comparison study of managing sessions in the recording studio and the influences of genre

This study examined the recording session management approaches of two music producers, Phil Harding and Greg Haver, to ascertain if and how their different approaches impact the outcomes of music production projects. Semi-structured interviews were conducted with each producer to gain insight into their approaches generally, and also, as a point of comparison, their work on the educational Gus Dudgeon Foundation/Joint Audio Media Education Support (GDF/JAMES) summer recording sessions specifically. Thematic analyses of the interviews revealed that the producers’ respective approaches are influenced by the genres in which each predominantly works. Harding, a pop producer, is very systematic. Haver, who is better known for his work in rock, uses an organic approach. Consequently, there were some clear differences in their decision making and organizational strategies at the GDF/JAMES sessions. The producers used different criteria to choose a project/artist. Each used distinctive approaches in pre-production (i.e. work on song arrangements and other technical musical decisions), production (recording) and mixing. Still, both produced pop recordings that largely conform to pop norms. Both recordings have similar pop arrangements and meet commercial standards. Findings provide new understanding of session management techniques that can benefit both music production education and practitioners.

Using DAWs as modelling tools for learning design sound-based applications in education

This article discusses a proposed design and sound tool teaching and learning approach, with interesting solution-based challenges not immediately associated with traditional DAW instruction. By stepping outside of the usual boundaries of DAW use, music production teaching is presented with a number of novel learning challenges. There is potential for DAWs, especially in educational settings, to be used to enhance the discipline, encourage experimentation and stimulate design-based ideas that promote DAW use beyond the mixing and engineering type contexts. By shifting DAWs into areas of sound-based music, as proposed by Landy, this innovative approach, facilitates deeper, experiential learning where sound is treated as the basic musical unit, therefore allowing for a potentially greater range of designed outputs.

Strategies for facilitating creative music collaboration online

Online collaboration between musicians in 2020 is a rapidly developing practice due to a range of environmental, epidemiological and creative motivations. The technical facility to collaborate in a variety of different formats exists via file-sharing services, video conferencing suites and specialist music services such as Splice and Auddly. Yet, given this proliferation of technologies, little attention has been paid into how creative musicians can most meaningfully utilize these new collaborative opportunities within their working practice. In this article, we wish to share some reflections from a case study of online music collaboration gained through our experience of facilitating three online songwriting camps with students from Leeds Conservatoire in the United Kingdom and Rhythmic Music Conservatory in Denmark. This article will particularly focus on the importance of managing roles, the impact of communication tools and the requirement for time management when collaborating online before proposing a set of guidelines derived from this study to help enable productive online creative collaboration.

When arts and science meet: Digital technology in artistic research

In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills, providing new means to develop the artists’ reflection on their own development. As such, they hold great potential to shape artistic research. Moreover, digital technologies offer possibilities to capture the learning process based on quantitative measurement, thereby becoming a potential interface between artistic and scientific approaches to investigating artistic growth. This contribution presents two artistic projects illustrating the potentialities of the art–science encounter. Embedded in the research paradigm of embodied music cognition, both projects explore the role of the body in music performance (interpretation and improvisation). The first project investigates the relation between gesture and interpretative intentions in a contemporary piano composition. The second project concerns the development of one’s musical language through kinemusical improvisation. A mixed methodology and the use of technology as ‘an augmented mirror’ to monitor artistic practice were applied. Both projects illustrate how the implementation of digital technologies may boost the evolution in artistic research and facilitate novel approaches to music teaching and learning.

Technology-centred learning processes as digital artistic development: On the reciprocal effects of conceptual models, metaphors and presets

This case study looks at a self-directed learning process of a professional classical-trained musician adopting a previously unknown digital-material musical device. In order to achieve the desired artistic result, the musician has to modify his music-related action in favour of the device’s calls for action, which are shown to him by a preset session. For this purpose, a specific interface relation must be established in the connection between the user and the device. The case study is contrasted with data from its framing research project. Findings include aspects as affirmation or degrees of unfamiliarity and their respective impacts on the subject’s action repertoires. A model of learning in the context of digital media or interfaces is introduced and discussed. It offers a specific potential for identifying particularities of how meaning and functionality of digital-material musical devices are embedded into everyday artistic contexts.

Evaluating the use of LoLa in European conservatoires: The SWING project

The research presented in this article reports on the SWING project, a qualitative case study initiated by The Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC) into the use of LoLa (low-latency audio-visual streaming) for instrumental music teaching between conservatoires. LoLa is a software package that allows musicians to perform and interact together synchronously in real-time with high-quality audio, something not currently possible with standard videoconferencing platforms. LoLa is a relatively new technology and there is limited research available on how effective it is when used for instrumental music teaching. Trials of LoLa technology were conducted in three conservatoires in Austria, Italy and Slovenia in early 2019. Follow-up interviews were conducted with music teachers, students and technicians to understand their experiences of using the technology, what changes took place in the teaching, and to determine the potential and limitations of LoLa for teaching in conservatoires. Participants in the trials reported overall satisfaction with the system, with many being surprised at the high quality. The findings showed that LoLa can expand the possibilities for artistic development by facilitating synchronous interaction between teachers and students in different conservatoires. These possibilities include one-to-one lessons, group masterclasses, examinations, and opportunities to rehearse and perform synchronously with musicians from other institutions. This aligns with current research which calls for a reappraisal of the traditional one-to-one conservatoire studio lesson.

Digital audio technology in music teaching and learning: A preliminary investigation

The inclusion of digital audio technology for sampling, editing, mixing and producing music in formal music classrooms has been considered a needed area of expansion across the music teaching and learning landscape. Current research suggests that music technology, defined broadly, is often disregarded in many music classrooms. However, the ubiquity of music technology suggests its relevancy in the digital age, especially for sampling editing, mixing and producing music. The purpose of this research was to survey the current climate of music education across all levels of instruction, with a special focus on teaching digital audio technology using MIDI controllers and audio production techniques. A researcher-developed survey was distributed to a population of music teachers across the United States (N=83). Results found that participants taught few digital audio technology concepts, used Garageband extensively, were self-taught, relied on out-of-date hardware and used a variety of MIDI controllers. Implications for music education and considerations for additional research are provided in conclusion.

Towards a sustainable, student-centred approach for technology-supported music education: A Dutch perspective

Applying technology in music education is not always obvious for music teachers. Pre-service music teachers should be trained in technology-supported music pedagogy, but this requires more than isolated lessons, short projects and ad hoc support. This article reports on an exploration towards a structural implementation of digital pedagogy in higher music education (i.e. a bachelor of music in schools). This exploration was based on student-centred approaches that were iteratively developed over time and have been investigated through an action research strategy. The aim of this article is to inform about the design of the approaches, such as the structure of courses with its assignments, participants and external collaborations, and turning points and insights that steered the approach. Focus is put on the so-called technological pedagogical content knowledge (TPACK), technology acceptance and students’ motivation. In the end, this article presents recommendations for designing education that prepares students to enhance their practice with technology: (1) adapt to your students; (2) be concrete to your students; and (3) embrace collaboration. This article concludes with explaining the value of these recommendations beyond higher music teacher education by providing examples of how these recommendations can be translated to higher music performance education.

Aglaya Play: Designing a software solution for group compositions in the music classroom

This article details the design for Aglaya Play, a proposed software system that aims to meet three basic needs in the music classroom: the incorporation of creative processes, the adoption of collaborative-cooperative strategies and the reduction of reading–writing- and theory-based learning in the early stages of music education. The text contextualizes the needs that the software intends to meet and describes its phases of construction from a design-based research perspective. Finally, a full description of the system is offered based on its functions, and suggestions for its didactic implementation are provided.

Online learning in higher music education: Benefits, challenges and drawbacks of one-to-one videoconference instrumental lessons

Online music courses are becoming more common in higher education thanks to the always increasing technological advances. Due to the COVID-19 pandemic many universities around the world have been forced to turn to online learning. There are currently several options to deliver online musical tuition, but most of them offer limited results. Online learning provides many advantages related to time and money saving, as well as ecological-related matters, access from remote areas and interaction between students and teachers around the world. However, most often communication will take place using platforms tailored for speech, which will have a significant impact on the lesson quality. Although face-to-face lessons cannot be completely replaced to guarantee quality tuition, online lessons can be a helpful complement in certain situations. This article aims to identify the most common limitations of the platforms available at the moment, suggesting different approaches to lessen the weaknesses of online instrumental one-to-one teaching.