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Audio Education
Audio Education: Theory, Culture, and Practice is a groundbreaking volume of 16 chapters
exploring the historical perspectives, methodologies, and theoretical underpinnings that
shape audio in educational settings. Bringing together insights from a roster of international
contributors, this book presents perspectives from researchers, practitioners, educators, and
historians. Audio Education highlights a range of timely topics, including environmental
sustainability, inclusivity, interaction with audio industries, critical listening, and student
engagement, making it recommended reading for teachers, researchers, and practitioners
Daniel Walzer is an assistant professor of music at the University of Massachusetts Lowell.
Mariana Lopez is a senior lecturer in sound production and postproduction in the
Department of Theatre, Film, Television and Interactive Media at the University of York.
Audio Education
Theory, Culture, and Practice
Daniel Walzer and Mariana Lopez
First published 2021
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 Taylor & Francis
and of the authors for their individual chapters, has been asserted in accordance with sections 77 and
78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form
or by any electronic, mechanical, or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or retrieval system, without permission in
writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are
Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested
ISBN: 978-0-367-07443-2 (hbk)
ISBN: 978-0-367-07444-9 (pbk)
ISBN: 978-0-429-02078-0 (ebk)
Typeset in Times New Roman
by Apex CoVantage, LLC
v
List of Contributors vii
Acknowledgments xiii
Introduction: Audio Education and the Makings of
Creative and Inclusive Scholarship 1
1 The Roots of Audio—From Craft to Established Field 1925–1945 7
2 The Child as Musical Aector: Sound Perception and
Manipulation as Artistic Process in Primary School
Music Education 17
3 A Timeline is Not a Continuum: A More Inclusive
Electronic Music History 45
4 Creating Authentic Learning Experiences Using Max 65
5 Gamifying the Learning Experience: Evaluating Teaching
Methodologies in an Introductory Module to Sound
for Film and Television 81
6 Learning About Critical Listening Through Popular Music 101
Contents
vi Contents
7 Listening Sessions: Critical Listening in a Social Context 115
8 Engineering and Recording 131
9 Environmental Sustainability in the Audio Engineering
Curriculum 151
10 Breaking the Sound Barrier: The Importance
of Interdisciplinary Audio Curricula 167
11 SoundReections:ThePurpose,Perspectives,and
Place of Audio Education 191
12 Designing Vocational Training for Audio Engineers at a
Distance:Challenges,Reections,andRecommendations 207
13 Accessibility: A Practical Perspective on Inclusion 221
14 Future Educational Goals and Actionable Items: Teaching
Communication Skills for Audio Education Institutions
and Educators 243
15 Addressing the Gender Imbalance in the Theater Sound
Industry: A Conservatoire Approach 263
16 Enhancing Student Employability Through Innovative
Program Design: A Case Study 275
Index 297
vii
Mark Bassett is an internationally experienced academic director, lecturer,
mastering engineer, and acoustician. He is the Director of Academic Quality
Assurance for the SAE Institute’s international licensed campuses and his
professional audio experience includes managing a successful acoustic consultancy
business and working as a mastering engineer for nearly a decade in Sydney. He holds
a PhD from the University of Sydney’s Spatial Audio and Acoustics Lab and his
research in technical ear training has been published and presented internationally,
including on several expert panels. In 2018, he founded Zipper Noise, a company
specializing in developing audio engineering education technology.
Doug Bielmeier is an associate teaching professor at Northeastern University
with a doctorate in education and over 15 years of experience teaching music/
audio engineering at graduate and undergraduate levels. Bielmeier, formerly a
freelance engineer in Nashville, Tennessee, has 15 years proven success as a studio
and live-sound engineer. His live-sound work has included working at the Kennedy
Center, in Washington D.C., doing sound for Vice President Joe Biden. Bielmeier
was the Designer/Studio Manager of the C.L.E.A.R. Lab recording studio at the
Purdue School of Engineering. His papers on audio education, circular design, and
music have been published internationally.
Jude Brereton is a senior lecturer in music technology, University of York. She
was the founding program leader for the MSc in audio and music technology in
the Department of Electronic Engineering. She currently teaches in the areas of
virtual acoustics and auralization, music performance analysis, and voice analysis/
synthesis. She is dedicated to improving diversity in audio engineering, through
innovative, creative approaches to teaching. She serves as a panel member for the
UK Athena SWAN charter, which promotes gender equality in higher education.
With a background in arts and music administration, she is still active in promoting
research-inspired live performance events combining art and science for public
engagement.
George Brock-Nannestad graduated in signal processing in 1971, focusing on
musical acoustics. With public funding, from 1981 to 1986 he carried out the
project The Establishment of Objective Criteria for Correct Reproduction of
Contributors
viii Contributors
Historical Sound Recordings. From 1991 to 1998 he was responsible for the media
at the School of Conservation in Copenhagen. Subsequently, he has researched
and consulted on sound restoration and AV technology history. He was a regular
contributor to the AHRC Research Centre for the History and Analysis of Recorded
Music, 2004–09, and contributed chapters to The Cambridge Companion to
Recorded Music (2009) and The Art of Record Production (2012).
HelenaDaern is currently a senior lecturer in music technology in the Department
of Electronic Engineering at the University of York, UK. She received a BA (honors)
degree in music, an MA degree in music, and PhD in music technology, all from the
University of York, UK, in 2004, 2005, and 2009, respectively, before completing
postgraduate training as a classical singer at Trinity College of Music, London.
Her research utilizes interdisciplinary approaches and virtual reality technology
to investigate voice science and acoustics, particularly singing performance, vocal
pedagogy, choral singing, and singing for health and well-being.
Marc Green received a BA degree in music production in 2013 from the University
of Central Lancashire followed by an MSc in audio and music technology in 2015
from the University of York, UK. Presently a PhD candidate at the AudioLab,
University of York, UK, following a successful year as an associate lecturer, his
research interests include spatial audio, environmental soundscapes, and machine
listening.
Brian Heller is an artist and technician who works with sound using a unique
blend of skills. Over 20 years, he has built a practice integrating composition,
audio engineering, and education. This diverse range of experience has taken
him everywhere—recording in a grain silo, collaborating at a Bamboo festival,
composing in an abandoned Manhattan storefront, and writing for Electronic
Musician
Center, and the Aspen Music Festival have allowed him the privilege of
recording concerts featuring some of the great classical performing artists of our
time. Brian graduated from The Hartt School, and is currently the director of the
Sound Arts program at Minneapolis College.
Clare Hibberd graduated in 2004 from the Royal Central School of Speech and
worked extensively in musical theater sound departments across the West End and
on national and international tours for nearly ten years before completing a PGCE
at Canterbury Christchurch University, Kent, and then teaching science at a large
Oman to work at the Royal Opera House Muscat as senior sound technician. Clare
is currently the sound lecturer on the BA production, technology, management
course at the Royal Conservatoire of Scotland.
Contributors ix
Andy Hunt is a professor of teaching and scholarship in the Department of
Electronic Engineering at the University of York, UK. He has served as the
deputy head for teaching and has been heavily involved in the implementation
programming, app development, multimedia technology, and project management
and development. His book Managing Your Project: Achieving Success with
Minimal Stress is aimed at all university students having to undertake a large-scale
solo project.
Elissa Johnson-Green is Assistant Professor of Music and Music Education and
Coordinator of the Program in Music Education at the University of Massachusetts
Lowell’s Department of Music. She is the inventor and project leader of the
EcoSonic Playground Project, an open-access, immersive music program for all
children. She also directs the Creative Sound Play Children’s Chorus of the Lowell
String Project, which is a program that fosters and strengthens bonds between
university and community. Her research interests focus on children’s musical
education, and on music as a transitional property in children’s lives.
Elsa Lankford is a full professor at Towson University in the US. She teaches
audio production and sound creation in the Department of Electronic Media
and Film. She is an interdisciplinary artist and composer whose individual
creative work typically touches on the overlaps between sound, cities, and social
action. Other pedagogical and research interests include designing sounds and
soundtracks for visual media, student radio, audio documentaries and podcasts,
cats, and chickens.
M. Nyssim Leord facilitates creativity in a variety of settings: academic and
at Berklee College of Music, received her MS from the Massachusetts Institute
of Technology for work on network music collaboration, and her PhD from the
same institution for investigations into the perceptions of music creators in situ.
Currently, she is a researcher and teacher at Luleå University of Technology in
Sweden.
Mariana Lopez is a senior lecturer in sound production and postproduction in the
Department of Theatre, Film, Television and Interactive Media at the University
design, having been awarded a BA degree in arts with specialization in music
and an MA degree in postproduction with specialization in sound design. In 2013
x Contributors
she completed her PhD at the University of York on the importance of virtual
acoustics to further our understanding of the York Mystery Plays. Before joining
the University of York, Mariana worked at Anglia Ruskin University as a senior
research fellow.
Ben Mosley is a senior lecturer at Leeds Beckett University. He is course
leader for BSc (honors) audio engineering course and teaches across a range of
undergraduate and postgraduate audio and acoustics modules. As an installation
engineer, he has designed and installed recording studios and music technology
suites across the UK. Ben also continues to work as a recording engineer and
acoustician and his research is focused on both audio education and sustainability
within the audio industries. He has served as chair of the Audio Engineering
Society UK Section, is a member of the Institute of Acoustics, and a senior fellow
of the Higher Education Academy.
Adam Scott Neal is a composer working in a variety of genres, from toy piano solos
to modern dance scores. His music has received nearly 300 performances in 12
countries. He has also presented and published research on experimental computer
music, improvisation, and the agency of musical instruments. Adam earned a PhD
at the University of Florida and previous degrees at Queen’s University Belfast
and Georgia State University. Originally from Atlanta, he currently lives in Dallas,
Texas.
Frank Stevens received the MEng (honors) degree in electronic engineering
with music technology systems and the PhD in music technology, both from the
University of York, UK in 2014 and 2019, respectively. His research interests
include environmental sound measurement, modeling, and evaluation. He is an
associate lecturer in music technology in the Department of Electronic Engineering
at the University of York, UK, where he teaches, among other things, digital signal
processing in MATLAB, acoustics and psychoacoustics, synthesiser design, and
foundation year electronics.
Paul Thompson is a professional recording engineer who has worked in
the music industry for more than 15 years. He is currently a reader at Leeds
Beckett University in the School of Arts and his research is centered on record
production, audio education, popular music learning practices, creativity, and
cultural production in popular music. His book Creativity in the Recording Studio:
Alternative Takes was published in early 2019 by Palgrave Macmillan.
Daniel Walzer is an assistant professor of music at the University of Massachusetts
Lowell. Walzer received his PhD from the University of the Cumberlands, MFA
from Academy of Art University, MM from the University of Cincinnati, and
BM from Bowling Green State University. Walzer draws on nearly 20 years of
experience as an audio and media professional, session and touring musician,
academic administrator, and faculty member at colleges and universities in the US.
Contributors xi
An experienced music technology researcher and practitioner, Walzer maintains an
active career as a composer and has published widely on issues relating to audio
and music technology education.
Jeremy J. Wells is a senior lecturer in the Department of Music at the University of
York, having previously worked as a teaching fellow, lecturer and research associate
in the Department of Electronic Engineering. A graduate of the University of
Surrey’s Tonmeister program, Jez then went on to work for Digital Audio Research
and Fairlight before undertaking an MSc, and then a PhD (completed in 2006), at
York. From 2011 to 2012 he held an Ingenious Public Engagement Fellowship
with the Royal Academy of Engineering. He is currently the program leader of his
department’s MA in music production. His research interests are audio design and
sound recording practice.
Duncan Williams is a lecturer (assistant professor) in acoustics and audio
engineering at the University of Salford, UK. Prior to this he worked in academia
at the universities of York, Plymouth, and Oxford, and has taught in the US and
China. Duncan holds a PhD in psychoacoustics from the University of Surrey,
UK, and worked extensively in industry as a sound engineer and a psychoacoustic
consultant, in particular working with automotive noise evaluations. He is a
Victor Zottmann moved from Brazil to Canada in 2014 to study sound design for
visual media at Vancouver Film School. Shortly thereafter he went to Melbourne,
Australia, to pursue a bachelor’s degree in audio at SAE Institute. Recently, he
completed his master’s degree in architectural science (audio and acoustics) at
the University of Sydney. With a focus on helping beginners improve both their
creative and professional skills, Victor wrote for DesigningSound.org from 2017
to 2019. Among the factors discussed in this chapter, the experience he acquired
inspired him to pursue technical and academic careers.
Affiliations
Mark Bassett—SAE Institute
Doug Bielmeier—Northeastern University
Jude Brereton—AudioLab, University of York
George Brock-Nannestad—Patent Tactics
Marc Green—AudioLab, University of York
Brian Heller—Sound Arts Program, Minneapolis College
Clare Hibberd—Royal Conservatoire of Scotland
Andy Hunt—AudioLab, University of York
Elissa Johnson-Green—Department of Music, University of Massachusetts Lowell
Elsa Lankford—Electronic Media and Film Department, Towson University
xii Contributors
Mariana Lopez—Department of Theatre, Film, Television and Interactive Media,
University of York
Ben Mosley—Leeds Beckett University
Adam Scott Neal—Southern Methodist University
Frank Stevens—AudioLab, University of York
Paul Thompson—Leeds Beckett University
Daniel Walzer—Department of Music, University of Massachusetts Lowell
Jeremy J. Wells—Department of Music, University of York
Duncan Williams—Acoustics Research Centre, University of Salford
Victor Zottmann—SAE Institute Melbourne
xiii
assistance throughout the project. Hannah Rowe and Shannon Neill, in particular,
were helpful in guiding the book to completion. We are grateful to the two referees,
extend our thanks to the volume’s contributors for sharing their critical work in
furthering audio education globally.
Acknowledgments
1
As the editors of Audio Education: Theory, Culture, and Practice, we are pleased
settings. The volume’s 16 chapters include a broad coalition of researchers, prac-
titioners, educators, and historians from the United States, the United Kingdom,
Australia, Brazil, and across Europe. From detailing the origins of audio special-
literate lens, the chapters in Audio Education: Theory, Culture, and Practice aim
to provide a practical and engaging resource for all with a keen interest in audio’s
rich potentialities.
The book’s authors tackle what “audio” and “education” signify, both together
and as distinctly separate entities in learning environments. Intentionally con-
cultural spaces where teaching and learning occur. Moreover, if the book intends
openness. Theory must be well researched and balanced with thoughtful applica-
tion in ways that educators can use in their work.
What Audio Education: Theory, Culture, and Practice cannot do, however, is
believe it is neither wise nor feasible to “name and claim” a medium (audio) and
a discipline (education) in a single, solitary fashion. What we do see, as is evi-
denced across the 16 chapters in this book, is that audio and its parts vary widely
based on the perspectives of the authors and their students. The contributors in
acoustics, music education, sound design, and theater. What is clear, nonetheless,
is that audio informs their pedagogy, inspires their practice, and promotes new and
applied forms of knowledge exchange. As Boehm et al. (2018) remind us, music
technology and its related specializations now have six generations of researchers
and practitioners in the UK and globally.
In considering the volume’s scope, we encouraged authors to exercise care
Introduction
Audio Education and the Makings
of Creative and Inclusive Scholarship
Daniel Walzer and Mariana Lopez
2 Daniel Walzer and Mariana Lopez
role in teaching and learning. However, if one is to assume that audio functions in
not everyone has the same access to particular tools. We are also aware that schol-
arly publication cycles vary. A project of this depth takes a few years to material-
ize. What might be considered cutting-edge technology at the time of writing may
prove redundant once the volume is eventually published, as software platforms
become obsolete—replaced by newer technologies. While these are commonly
found risks in academic publishing, our hope here is that pedagogical discussions
Considering the book’s philosophical aims, as editors, we deemed it essential to
provide a supportive platform for emerging scholarly voices writing on topics of
inclusion, social justice, and equality to be heard and eventually cited. Indeed, such
not to present a volume solely on educational policy. On the contrary, we believe
canon beyond techno-centric content. That several chapters in this volume expand
on such ideas is intentional and, in our view, vital for improving audio education’s
pathway for inclusion.
Chapter 1 begins with a historical look into how audio education evolved over
two decades in the early 20th century. George Brock-Nannestad analyzes early
training literature and hardware used in audio, along with the emergence of pro-
fessional organizations dedicated to audio-related matters. In tracing audio’s rapid
evolution over two decades, Brock-Nannestad questions what it means to be an
educators might better discern where the profession will be in the future.
Chapter 2 introduces the concept of primary school children as musical
Elissa Johnson-Green elucidates how children’s artistic expression provides a
more in-depth understanding of their thinking patterns and ways of being. Drawing
on a rich literature review, Johnson-Green provides evidence that audio education
begins early in a child’s development. Her chapter reports on a four-year study
analyzing student compositions through scores, spectrographic analyses, videos,
creativity, Johnson-Green provides teachers with suggestions on how to cultivate
similar methods with young children in the classroom.
Chapter 3 puts forward a more comprehensive and topical view of materials
used in an electronic music history course. Brian Heller argues that by broadening
the syllabus to include nontraditional voices and perspectives on sound technol-
ogy, student learning is more abundant and the pedagogy more expansive. Heller’s
lens, informed by his experience working in a Sound Arts pathway at a two-year
college in the United States, advance the nascent discourse on how to bridge aca-
demic topics and audio-focused curriculum in a fashion that embraces musicality,
technology, popular culture, and sociocultural relevance.
Chapter 4-
tions in audio education. Mark Bassett argues that to truly guide students to a deeper
Introduction 3
understanding of sound engineering concepts, they must develop problem-solving
and autonomous learning competencies. Using Outcomes-Based Teaching and
Learning and Max/MSP as theoretical models, Bassett writes on how emphasizing
process over technology requires students to design a personalized mixing inter-
face to meet course requirements. In so doing, Bassett maintains that students learn
more than just a particular software—they solve problems and acquire a stronger
foundation in audio engineering.
Chapter 5
techniques to supplement lectures in an introductory sound design module for
theory enhances student learning by reinforcing concepts, improving class partic-
ipation and motivation, and incorporating real-world examples to help articulate
class topics. Lopez’s research sheds light on future research in game theory and
pedagogical best practices by using a logical analysis of student surveys, course
gleaned from Lopez’s preliminary research suggests that with thoughtful imple-
Chapter 6 examines how popular music serves to reinforce a broader, multi-
faceted foundation of critical listening competencies in audio and music technol-
ogy education. In this chapter, Adam Scott Neal describes how using particular
recordings, supportive teaching, and positive socialization help discern a deeper
understanding of musical form, text painting, sound characteristics, and genre
critical listening, and its broader merits as a gateway to a more in-depth student
agency, interpersonal communication style, and understanding of course content.
grade levels, and the practical considerations of including such content among
more stringent learning rubrics in elementary and secondary schools in the United
States.
Chapter 7 builds on the theme of critical listening and social contexts. Nyssim
-
fully mediated listening sessions facilitate more meaningful peer feedback and
-
sions, are intertwined and connected; their success in practice requires the learner
to be self-directed and aware. Drawing on a series of constructivist and educational
their reactions to sounds, ask questions, and discuss ways to improve recording
-
cation that respect, autonomy, and attentiveness form the basis of a more nuanced
language designed to improve teaching and learning in Sweden and beyond.
4 Daniel Walzer and Mariana Lopez
Chapter 8-
neer is in this day and age. Jeremy J. Wells interrogates the limitations in placing
music production and recording. Using survey data and group discussions with
varied stakeholders in the audio industry, Wells presents the epistemological pos-
the future. While a single description of the engineer remains elusive, Wells takes
a humanistic view of audio engineering, is careful to detail the many artistic and
take an active role in addressing inequality in the profession at large.
Chapter 9 addresses the issue of sustainability in audio education. Ben Mos-
ley’s contribution is both timely and appropriate when considering the realities of
climate change and environmental sustainability. Mosley’s chapter is both a clar-
ion call for educators to consider their ethical responsibilities to train eco-literate
graduates and a case study in how to foster sustainability initiatives in audio educa-
tion coursework. Equally crucial to Mosley’s research is the overarching mission
to prepare future graduates to be informed citizens and to use their audio-related
grounded in solid practice, Mosley’s sustainability curriculum provides audio edu-
the UK and elsewhere.
Chapter 10 focuses on interdisciplinarity in audio education. Elsa Lankford
unpacks the plethora of technical and artistic possibilities associated with audio
while providing a focused set of methods that audio educators can use to maximize
departmental and institutional collaboration. Lankford discusses service and expe-
riential learning opportunities for students through audio documentaries and multi-
media production and guides the reader to a clearer understanding of the breadth and
depth of disciplinary options and the possible implications for those working in audio
education in the United States. By providing a thorough analysis of what interdisci-
plinary curricula is, along with related audio education programs in North America,
Lankford’s chapter reveals much about current trends in audio education and the
Chapter 11
of the UK higher education sector. Paul Thompson and Ben Mosley summarize
audio education’s space and place in the UK Creative Industries area, and clar-
ify the essential aspects of audio education and its functions in a time when ris-
ing tuition costs and unpredictable job markets remain constant. Incorporating
recent literature reviews, email correspondence with industry professionals, semi-
structured interviews, and focus groups from the authors’ institution, Thompson
and Mosley’s work contributes to the expanding discourse on how audio education
can best serve vested stakeholders in the UK. Thompson and Mosley surmise that
audio education, while ever improving and expanding, must be realistic and sensi-
tive when assessing its abilities to balance vocational and sociocultural aims in the
audio profession at large.
Introduction 5
Chapter 12 presents a case study on how audio education functions within the
realm of distance learning. Duncan Williams discusses the design and implementa-
tion of a course on sound recording technology through an online delivery format
at a public university in the United States. While e-learning is commonly accepted
in colleges and universities, its role in audio education (and audio engineering
-
the merits and drawbacks of delivering audio-related courses online. Additionally,
through a comparative analysis of e-learning theories in the UK and abroad, Wil-
liams provides valuable considerations on assessment, course design, and how to
-
ings online.
Chapter 13, written by Victor Zottmann, analyzes the state of audio educa-
tion in Brazil and how online tutorials on audio-related topics provide a critical
examine not only how the internet (and social media) functions as a dissemination
tool for audio education topics, but also how the sites of learning extend beyond
colleges and universities. Zottmann documents his process in generating 40 tuto-
rials on audio-related topics suitable for a general audience, both in English and in
Portuguese. In his case study, Zottmann interviews an audio education expert from
Brazil and guides the reader to a sobering understanding of how challenging it
can be to pursue audio education training in certain parts of the world. Zottmann’s
quantitative data reveals a deeper understanding of the potential audience interact-
ing with the video tutorials, their learning preferences, and the role of social media
in delivering audio-related content.
Chapter 14
Doug Bielmeier builds on his considerable body of scholarship in audio education
audio-related stakeholders. Bielmeier reinforces the social and relational aspects
of audio education and the audio industry. Such partnerships, when and where
appropriate, enhance why communication matters, and how educational stakehold-
ers can inform their decision making accordingly to meet the needs of students.
Ultimately, it is in the local and regional partnerships where the most actionable
the need for mentoring and relevant professional experiences via internships and
of the audio industry.
Chapter 15
-
ines the lack of women participating in sound design in Scotland and frames the
discussion in the broader context of audio education. Hibberd’s review of the liter-
ature touches on brilliance bias, gender stereotyping, and current initiatives under-
way to expand participation for women and persons of color in music technology,
sound design, music education, and similar disciplines. Hibberd’s chapter details
6 Daniel Walzer and Mariana Lopez
ways to address social justice issues and how her institution chose to incorporate
sensitive topics into course modules. Hibberd’s case study serves as a model for
how audio educators might want to address social and political issues in and out
of the classroom to advance a pluralistic and inclusive model of pedagogy and
learning.
Chapter 16 closes the volume with a comprehensive review of the MSc in
audio and music technology program at the University of York, UK. Jude Brere-
ton and her colleagues trace three decades of audio education best practices while
providing a fascinating look at how the eldof audio education has changed (both
at the University of York and elsewhere), and how institutions have to adapt to
such changes to remain solvent and relevant in pedagogy and educational mis-
sions. Detailing York’s rollout of a master’s degree in audio and music technology,
Brereton et al. outline the degree’s learning outcomes, course design, admission
graduate a diverse and
talented pool of students. Brereton and her colleagues advocate for a rigorous
of each student. For audio educators, Brereton et al. remind us that there is real
value in topical coursework, supportive mentoring, peer learning, and projects that
reinforce problem solving and creativity. Concluding the book, Brereton and col-
honestly on their successes and areas for improvement as a department. Beyond
resources that peer institutions can study and emulate.
It is our hope that Audio Education: Theory, Culture, and Practice provides
valuable information for educators, students, researchers, creative practitioners,
industry professionals, and academic administrators with a vested interest in
audio-related topics in education. As with any major project like this, there are
likely more research and pedagogical questions worth exploring in future editions
and through related scholarly outlets. Certainly, one volume is but a glimpse of
what audio education might be, and how the imaginative writings of the book’s
-
Daniel Walzer, PhD, and Mariana Lopez, PhD, Co-Editors
May 2020
Reference
Boehm, C., Hepworth-Sawyer, R., Hughes, N., & Ziemba, D. (2018). The discipline that “became”:
Developments in Music Technology in British higher education between 2007 and 2018. Journal of
Music, Technology & Education, 11(3), 251–267. doi:https://doi.org/10.1386/jmte.11.3.251_1
References
1. Electrical and Musical Industries, Ltd. (EMI) was the result of a merger between the British companies
the Gramophone Company and the Columbia Graphophone Company in 1931. The company was a
huge factor on the market. Its head of the International Artists’ Department, Brenchley E.G. Mittell,
reported on modern recording and reproduction in 1947.
(except in broadcasting). Later, the compression standards for distribution of sound were similarly
related to video requirements. Note that mp3 is more correctly given as MPEG-1 or MPEG-2 Audio
Layer III; the acronym meaning Motion Picture Expert Group.
aector as someone who has the
2. Construct: a hybrid of improvisation and composition, where children retain musical elements over
3. Most of the many websites for expectant parents include instructions about how and what to
play during pregnancy (e.g. www.tinylove.com/us_en/articles/the-importance-of-music; www.
babycenter.com/0_music-and-your-unborn-child_6547.bc; www.whattoexpect.com/pregnancy/ask-
4. Thank you to William Moylan for helping me to develop this idea.
1. This writing will use terminology from the U.S. system of higher education. Therefore, a “program”
is a degree with a specialized major, a “course” is a class within that program, and a “module” is a
unit within a course.
music history survey course. The chart below indicates the number of pages each subject appeared
in the index of the book:
Title Author(s) Cowell/
Nancarrow/
Prep. Piano
Scott/
Haack
BBC Radio/
Oram/
Derbyshire
Bartok/
Densmore/
Lomax
Hip hop/
Public
Enemy
Audio Culture (2017) Cox.Warner 2 – – – –
Electronic and
Computer Music
(2013)
Manning 3 – 1 – –
Electronic Music
(Cambridge)
(2013)
Collins,
Schedel,
Wilson
1/1 3 – – –
Live Wires (2013) Warner – – – – –
Electronic and
Experimental
Music (2016)
Holmes 1 5 15/4 – 1
3. Institut de Recherche et Coordination Acoustique/Musique, a computer music research center in
Paris.
4. Mr. Roger’s Neighborhood was a popular American children’s educational television program,
which ran on the Public Broadcasting Service (PBS) network from 1968–2001. In each episode, host
Fred Rogers invited guests to introduce and demonstrate their professional activities and hobbies.
5. Metasynth is developed by U & I Software (http://uisoftware.com).
6. Doctor Who
2005 to the present. The show has remained highly popular in England and amassed an international
cult following. The show has not only had commercial success, but also garnered British Television
Academy (BAFTA) and National Television awards, and a Peabody award.
7. Released in 1968, Switched on Bach was a collection of J.S. Bach pieces performed on the Moog
Synthesizer by American composer and performer Wendy Carlos. The album created a sensation,
reaching number ten on the U.S. Billboard chart, and holding number one on the Billboard Classical
chart for three years. Due to its commercial success, it is widely credited with exposing the
synthesizer to the general public.
at European electronic music studios includes, among others: Luciana Berio, Bruno Maderna,
1. Not to be confused with Object-Orientated Programming (OOP).
1. In the context of this chapter, the words tutor and lecturer are used interchangeably to refer to any
faculty member with teaching responsibilities.
2. vHealthCare by BreakAway Games, www.breakawaygames.com/vhealthcare/
as formative or summative. A formative assessment is often given a mark, but that mark does not
themselves with a format of assessment such as an essay and give them the opportunity to learn from
4. https://kahoot.com/
5. https://socrative.com/
p=0.05.
1. CDIO is a self-governing consortia of higher education institutions whose mission is to further
excellence in engineering education, and thereby further engineering’s potential to contribute
practitioners, as well as academic leaders.
1. In 2017, physical media sales still accounted for 30% of global recorded music revenues, or 36%
if synchronization and performing rights income is excluded (International Federation of the
Phonographic Industry, 2018).
2. Much of this work was supported by the Royal Academy of Engineering, via their Ingenious Public
Engagement Fellowship program.
performances, or the capture of sound for subsequent assemblage into a musical artifact, for
simultaneous (i.e. live broadcasting) or subsequent reproduction. This area of audio recording is
what is intended by the term “musical sound” and subsequent uses of the term “recording” refer to
this type of recording.
4. Emeritus Technical Director, Schoeps Microphones.
5. A Lissajous display (typically referred to as a phase scope in audio production) is a two-dimensional
representation of the amplitude of two signals. In typical audio applications, it is essentially a
cartesian plot of left versus right amplitude. The width of the plot is a crude indicator of correlation
between the two signals, with a single, thin line indicating high correlation. The relative amplitudes
are indicated by the angular orientation of the plot: If it lies along the left axis then there is zero
amplitude in the right signal and vice versa.
6. Of course, this is not true of the media and their associated formats. The Compact Disc was a
triumph in the provision of a physical medium and storage format that preserved the integrity and
to the preceding vinyl disk.
However, the focus in this chapter is on the signals that are stored on such media rather than the
media themselves.
7. This correspondent referred to themselves as “an assistant professor in virology, but continue to
produce EDM [electronic dance music]. I like to think I’m the only person who’s worked at biosafety
level 4 and has a [record] label deal!”.
8. Here, participants are typically referring to scenarios in which the client and other workers
(e.g. performers) are present. However, it should be remembered that there are numerous roles that
can be undertaken in more solitary conditions (e.g. editing, mixing, and mastering).
1. The nomenclature varies between the US and UK. In the UK a module is a component of a course,
assigned a certain number of credits. For example, a combination of compulsory and optional modules
conveying 120 credits would need to completed per year of a three-year undergraduate program, with
360 credits required on completion of the degree. Similarly, 480 credits for four-year programs—honors
degrees generally take three to four years to complete, though the requirement can vary slightly from
institution to institution, and at post-graduate study level. The notional equivalent in most US systems
is units (academic modules, representing credits toward the course) and subjects (which may contain
various units). In either system, modules, courses, or component units may last a single semester or span
a longer duration. The term course might mean a complete degree program, or a combination of modules
or units in either case, so to avoid potential dichotomy of meaning here, for the purposes of this chapter,
we consider module to be interchangeable with unit, and degree to be interchangeable with course.
1. The term was conceptualized by Cinelli.
2. The website’s data analytics were disabled from 2018 onwards to improve the server’s central
processing unit (CPU) usage.
3. Original text in Portuguese: “Para auxiliar e complementar apresentações de projetos de design”.
4. For examples of the misused versions, please search for the Cone of Experience on Google Images.
The original version can be found on Dale (1946, 1954, 1969), and on Metiri Group (2018).
1. Little progress has been made since reports carried out in the 1980s and then again in the early 2000s
2015).
(Universal Stage Productions), Matilda (Royal Shakespeare Company), Les Miserables (Cameron
Mackintosh Ltd) and Mary Poppins (Cameron Mackintosh Ltd).
3. https://soundgirls.org/
4. A chapter is a geographically local group of members that are able to meet regularly for formal and
informal meetings.
5. www.stellarquines.com/
reassignment, marriage and civil partnership, pregnancy and maternity, race, religion and belief, sex
and sexual orientation.
1. BEng is a three-year bachelor of engineering course; MEng is a four-year program resulting in a
sixth form college and generally form part of the entry requirements for undergraduate degree
courses at university.
courses/msc-audio-music-technology/.
4. The name for Apple’s operating system that can run apps.
5. Further information on this device is available at https://ambfeed.weebly.com/
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