Learning and Designing Sound Based Music: Enhancing Music Production Pedagogy in HE - Video
Boon, H. 2022. Learning and Designing Sound Based Music: Enhancing Music Production Pedagogy in HE - Video. London
Boon, H. 2022. Learning and Designing Sound Based Music: Enhancing Music Production Pedagogy in HE - Video. London
| Title | Learning and Designing Sound Based Music: Enhancing Music Production Pedagogy in HE - Video |
|---|---|
| Creators | Boon, H. |
| Description | This is a video of my presentation as part of the conference: Music Production in Higher Education which took place at ICMP in London. Details of the conference can be found here: https://www.icmp.ac.uk/news/equalise-music-production-conference-202... The theme for this presentation develops arguments and ideas from my previously published work (Boon 2021). the abstract is reprinted below for information. Abstract This presentation of ongoing research explores using DAWs as a method to enhance teaching and learning. The focus here will be upon conceiving and designing complete pieces, stepping outside of the usual music production boundaries and into those of novel learning challenge and design based thinking, within the domain of sound based music. Sound based music treats sound as the basic musical unit rather than one ‘based on the traditional note-based paradigm’ (Landy 2019: 20). The research outlined here extends the sound based music formulation in three areas of general applicability for music production and popular music. The first is the Japanese practice of Sawari. This is the self imposed constraint operating as a useful obstacle where 'artificial inconvenience in creating sound, produces the sound' (Takemitsu 1995: 64). Secondly, Jamaican Dub producer practices such as the use of effects with internally routed feedback. Lastly, the anti-aestheticist use of aesthetic materials (Osborne 2013: 27) as a significant component part of popular music practice in general. Sound based music, at least as formulated here, can be implemented in any DAW, is potentially value-neutral and grounded within a number of teachable methodologies. In combination, these broaden the practice of production work, not just in the domain of sound based music, but also to stimulate innovation in materials based making and thinking: the discovery and production of knowledge in the midst of its making. References Boon, H (2021), ‘Using DAWs as modelling tools for learning design sound based applications in Landy, L (2019), 'Re-composing Sounds … and Other Things', Organised Sound, 24:02, pp. 130– Osborne, P (2013), Anywhere or not at all: philosophy of contemporary art, Brooklyn, New York: Takemitsu, T (1995), Confronting Silence: Selected Writings, Maryland: Scarecrow Press. |
| Keywords | music technology |
| sound based music | |
| sound design | |
| organised sound | |
| creativity | |
| music production | |
| pedagogy | |
| music composition | |
| music education | |
| cultural work | |
| digital audio workstation | |
| Year | 08 Sep 2022 |
| Place of publication | London |
| Web address (URL) | https://www.icmp.ac.uk/news/equalise-music-production-conference-2022 |