|Title||The Ways of Making, Dissemination and Reception Have Changed, So What Should We Do About It?|
Artists such as Steve Lacy posit changes to song structure to reflect changes in consumption. Spotify data about skip rates potentially affects songwriting and recording. The growth in 'visual' music via You Tube and the diverse ways music can be made using a variety of technologies alongside traditional instruments, are all with us now. Given that our students are exposed to the Internet of Things, what can we do that accounts for this world in our teaching?
Understanding and appreciating music being made by others that previously may have been dismissed as 'impoverished' or low culture, is the place where HE educators will be challenged daily. HE implications around course and module design, learning outcomes, tasks, tutorials, assessments, feedback and qualitative expectations of the student experience, are all up for consideration.
Classics are fantastic models but what is the 'learning'? To write or perform like the exemplar, to feel inferior or should we take something else from the study? How does one facilitate and introduce interesting works and practices in HE Music courses that are enlightening and inclusive whilst walking the line between 'tradition' and contemporary creative practice? This presentation will highlight some examples from my teaching practice at Westminster.
|Keywords||Internet of Things, Visual Music, Skpi Rates, Songwriting, Diversity, Music HE|
|Conference||Equality, Diversity and Inclusion in Music Higher Education|
|Accepted author manuscript|