Browsing by Subject "music education"

Now showing 1 - 2 of 2
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    Blurred lines: Practical and theoretical implications of a DAW-based pedagogy
    (Intellect, 2020-08-01) Walzer, Daniel; Music and Arts Technology, School of Engineering and Technology
    Digital audio workstations (DAWs) occupy a prominent space in the creative arts. Songwriters, composers, producers, and audio engineers use a combination of software and virtual instruments to record and make music. Educators increasingly find DAWs useful for teaching concepts in signal flow, acoustics and sound synthesis, and to model analogue processes. As the creative industries shift to primarily software-based platforms, the identities, roles, and responsibilities of the participants intersect and blur. Similarly, networked technologies change the space and place of creative activity. Now, the ‘studio’ exists virtually anywhere. For educators working with students, these changing paradigms present a series of challenges. This article explores the DAW’s possibilities across three areas: space and place, theory and identity, and pedagogy. The article advocates for a less technocratic model of teaching and learning with DAWs in favour of an approach that cultivates a balance of aesthetic awareness and creativity.
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    Fostering Trauma-Informed and Eudaimonic Pedagogy in Music Education
    (Frontiers, 2021-04) Walzer, Daniel; Music and Arts Technology, School of Engineering and Technology
    The arts and entertainment sectors remain fragile because of the global pandemic. Unemployment, physical and emotional stress, social isolation, a loss of purpose, and a problematic future are just a sample of the ongoing traumas that music educators and practitioners experience under duress. As an inherently social activity, music-making becomes especially difficult when the threat of infection persists, further exacerbating somatic trauma and decreased health and wellness. The sudden loss of daily contact with others, coupled with multiple kinds of crises, complicates matters for educators. How does one flourish when their livelihood, personal connections, and sense of meaning-making disappear? Likewise, how ought the music educator navigate such uncertainty when teaching others? To address these issues, psychologists have often turned to Trauma-Informed Care (TIC), a collaborative model between the practitioner and client that recognizes and validates the impact of painful memories and experiences. This article advocates for a compassionate eudaimonic pedagogy model that prioritizes healing and self-care for teachers and students and cultivating an ethos of critical digital pedagogy—itself a form of eudaimonia. Drawing on Noddings’ (1992, 1995, 2002) Philosophy of Care, the article concludes with suggestions on future connections between eudaimonia and music education.