0000000001069438
AUTHOR
Eirik Sørbø
Software som improvisasjonsverktøy : kreativitetsfremmende bruk av software i elektronisk musikk
Masteroppgave i utøvende musikk, rutmisk- Universitetet i Agder 2011
Teaching Aesthetics – A Case Study of One-To-One Tuition in Popular Electronic Music in Higher Education
Research regarding informal learning over the last few decades has shown how popular musicians acquire skills and knowledge through informal learning, suggesting new methods for formal music education compared to the structures of western classical music. Today, the realm of popular electronic music education faces some similar challenges that popular music education initially did; new ways of informal learning, and a different and diverse knowledge base for the students entering popular music programs. Related to these challenges is the question of how to teach one-to-one tuition in higher electronic music education, and this article seeks to address this challenge. We present a case-study…
Balancing Educational Purposes Within Higher Electronic Music Education – A Biestaian Perspective
The massive invasion of electronic dance music in the popular music scene in combination with accessible and affordable technology has created a large group of young musicians having acquired their skills and experience via online resources, often in solitude. This, in turn, creates challenges for the teachers regarding what the expected knowledge base is for the students entering the programs, how to maintain a balanced program, and how to relate to ever-evolving technologies, just to mention a few. In an educational system such as the Norwegian system, based on learning objectives and effectivity, some aspects of the broader educational purpose tend to get downsized. Based on the framewor…
Making Music, Finishing Music – An Inquiry Into the Music-Making Practice of Popular Electronic Music Students in the “Laptop-Era”
In this study we seek to present a description of how bachelor and masters students in popular electronic music experience making original music in their chosen Digital Audio Workstation (DAW). The chapter focuses on how the participants understand their role while making music afforded by the DAW environment, their strategies for getting started when making music, and the challenges they experience when finishing music. In the study we interviewed six students at bachelor and masters level. We see a tendency in how participants attribute the technical component of music making as the defining aspect of the producer role. The respondents seem to understand themselves as primarily producers …
Developing Practices and Approaches to Electronic Popular Music in Education
Paper III and paper IV are excluded from the dissertation until they are published. The field of electronic popular music education is a relative newcomer compared to most other educational fields within the arts, and the relationships between educational purposes, between the teacher and the students, and between technology and musical parameters are not as established as they are elsewhere. Through the four articles constituting this thesis, various ways of teaching electronic popular music are explored, all of which emphasize to some degree these relationships. In Article 1, I make broad discussions using continental educational theory—in particular, the work of Biesta—to generate pertin…