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Daniel Walzer

Indiana University Indianapolis, Music and Arts Technology, Faculty Member

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Berklee College of Music

California State University, San Bernardino

Graduate Center of the City University of New York

Gareth Dylan D Smith

Boston University

Ruben López-Cano

Escola Superior de Música de Catalunya

Kwantlen Polytechnic University

Kansas State University

Lydia Papadimitriou

Liverpool John Moores University

Case Western Reserve University

University of the Basque Country, Euskal Herriko Unibertsitatea

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Papers by Daniel Walzer

Building a Conceptual Model of Independent Studio Production in Undergraduate Music Technology Courses Through Authentic Assessment

by Jerelle Austin and Daniel Walzer

College Music Society Symposium, 2024

In this article, the authors put forward a Conceptual Model of Independent Studio Production (ISP... more In this article, the authors put forward a Conceptual Model of Independent Studio Production (ISP) in undergraduate music technology courses. Independent Studio Production reflects the increasingly multifaceted nature of the recording industry, where artists frequently occupy multiple roles in the creative process, including producer, audio engineer, promoter, and distributor. Studio recording happens in various places, including bedrooms, full-scale professional facilities, on tour, and entirely through the Internet. Therefore, designing assessments that carefully measure technical, theoretical, and creative skills that independent musicians encounter in myriad spaces may yield a more flexible approach to teaching music production. Though studio pedagogy has a rich tradition in music technology and audio engineering courses, many high-end recording studios have closed or been forced to change their business models in recent years. Additionally, while students frequently have access to high-end facilities during their studies, they often record at home and collaborate online. The ISP Conceptual Model encourages iterative curricular development through Authentic Assessment. After a brief synopsis of Authentic Assessment, we discuss AA implementation into three undergraduate music technology courses. The article concludes with suggestions on ways educators might integrate the ISP Conceptual Model through backward design.

Digital Storytelling as a Supplemental Resource for Improving Critical Thinking and Research Skills in Undergraduate Capstone Courses

Journal of Media Education

In the current study, the authors report on using Digital Storytelling (DST) as a pedagogical int... more In the current study, the authors report on using Digital Storytelling (DST) as a pedagogical intervention to supplement research skills in undergraduate capstone courses over three semesters in a university music technology program. DST involves using music, sounds, voiceover narration, and visual content to produce stories on specialized topics. Data collection includes survey responses, analysis of selected projects, and an overview of the course revision process through interdisciplinary collaboration. The paper concludes with implications for practice in media education and beyond.

Considering Leadership Pedagogy in Creative Arts Education

Journal of Leadership Education, 2024

In the following theoretical article, the author generates a theory of Leadership Pedagogy and it... more In the following theoretical article, the author generates a theory of Leadership Pedagogy and its connection to Creative Arts Education. The connections between Leadership Studies and Arts Education are less known, particularly in the post-COVID landscape, where career paths remain fluid after graduation. The article analyzes Leadership Theory across three pillars: Socio-relational, Cognitive, and Creative, and how these areas underscore thoughtful and caring pedagogy and inclusive teaching in undergraduate education. Drawing on the Scholarship of Teaching and Learning (SoTL), the article advocates for a flexible, multifaceted approach to curricular design rooted in theoretical pluralism, prioritizing interdisciplinary methods to bridge theory and practice in Creative Arts Education. The article concludes with implications for future research and collaboration connecting Leadership Studies and the Arts.

JPME Special Edition: Editorial

Journal of Popular Music Education , 2023

The author introduces the Special Issue commemorating the 25th-anniversary of Any Sound You Can I... more The author introduces the Special Issue commemorating the 25th-anniversary of Any Sound You Can Imagine: Making Music/Consuming Technology by Paul Théberge. The author discusses how Théberge's scholarship introduced new conceptions of technology in popular music teaching and learning by drawing on themes of musicking and technology-mediated ontology. The author concludes with a brief reflection on Théberge's continuing influence in popular music education.

Editorial: Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives

Journal of Music, Technology & Education, 2023

The Guest Editors introduce the Special Issue:‘Exploring Audio and Music Technology in Education:... more The Guest Editors introduce the Special Issue:‘Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives’. As the body of research on audio and music technology continually expands, the guest editors provide a brief overview of emerging scholarship on music technology education (MTE) from various disciplines and theoretical perspectives and their implications for teaching and learning. After a summary of the articles in the issue, the Guest Editors conclude with implications for future music and audio technology research in educational settings.

Sonic Thinking as a Tool for Creativity, Communication, and Sensory Awareness in Music Production

Thinking Skills and Creativity, 2021

Sonic thinking connects art and science with the phenomenological and tactile experiences of focu... more Sonic thinking connects art and science with the phenomenological and tactile experiences of focused listening. Inspired by multiple fields, including sound studies, music education, and philosophy, sonic thinking embraces an open-ended inquiry process—one that values a personal connection to sound and its associated meanings and contexts. Aural awareness and critical listening comprise essential skills for audio engineers and musicians training for careers in music production. However, more research is needed to understand better how educators can inspire these skills in a holistic manner that avoids overreliance on technocratic pedagogical models. There are gaps in the disciplinary boundaries of acoustics and sonic thinking. The cognitive and communicative binaries between recorded and non-recorded media are also challenging to integrate cohesively. What does it mean to “feel” sound in the body and model that connection for others in the recording studio and beyond? How does an audio engineer communicate abstract and esoteric concepts about sound to the artist? This article examines the practical and theoretical implications of sonic thinking and how educators guide students to a holistic and multifaceted understanding of sound and creative practice in the recording studio.

Special Issue: 'Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives' (Call for Papers)

by Daniel Walzer, Jan Herbst, and Andrew King

Journal of Music, Technology & Education, 2021

The past decade has seen increased interest in the pedagogical facets of audio engineering, sound... more The past decade has seen increased interest in the pedagogical facets of audio engineering, sound design, music technology and related fields. Much of this rising
interest in the teaching and learning aspects of sound corresponds to a growing number of institutions offering training options for people interested in the technical,
creative, scientific and cultural aspects of audio. However, while the options for learning about such topics have expanded, there remains a dearth of scholarship on
the theoretical, sociocultural and interdisciplinary aspects of audio and its connection to teaching and learning in a broad array of institutions. Also, little scholarship
has emphasized a professional development model for the educational aspects of audio, particularly for those working with the next generation of practitioners in all educational contexts. What impact do audio and music corporations have on facilities and curricular decision-making? For this Special Issue of the Journal of Music, Technology & Education, the guest editors seek contributions addressing one or more of the topics below:

• graduate teaching and research in audio education;
• diversity, equity and inclusion (DEI) in audio education;
• improving the quality of teaching and learning in audio education;
• sociocultural, historical and interdisciplinary aspects of audio education;
• limitations of a technocratic model of pedagogy in audio education;
• education-industry partnerships in promoting communities of learning and practice;
• impact of professionalization and standardization of curriculum by corporations;
• audio education as an emerging academic field for research and practice;
• global perspectives on audio education;
• social media, online communities and informal learning;
• pandemic-related case studies including hybrid/online learning strategies; and
• school-based (elementary, secondary, high school) and community-based learning
perspectives/collaborations.

Other topics relating to audio education are also welcome. Please submit full papers by 1 April 2022 via the journal’s page on the Intellect website. Expected publication date in late 2022 or early 2023. Questions about the CFP are welcome and may be
addressed to Daniel Walzer at [email protected].

CfP JPME Any Sound You Can (Re) Imagine: (Call for Papers)

Journal of Popular Music Education

2022 marks the 25th anniversary of Any Sound You Can Imagine: Making Music / Consuming Technology... more 2022 marks the 25th anniversary of Any Sound You Can Imagine: Making Music / Consuming Technology, a 'book about the role of recent digital technologies in the production of popular music…the industries that supply these technologies, the media that promote them, and the meanings they have for the musicians who use them' (Théberge 1997: 5). A groundbreaking and interdisciplinary study drawing on music technology, cultural studies and popular music, Théberge's research examined the complicated tensions among production and consumption, capitalism and consumerism, and what Henry Jenkins (2006) would later refer to as convergence culture, an interconnectedness among 'media convergence, participatory culture, and collective intelligence' (n.p.). Music production and consumption remain complex, as does the influence that corporations exert on virtually all aspects of the creative process. Prescient today as much as it was then, Any Sound You Can Imagine remains essential reading for scholars in popular music and technology.

Towards an Understanding of Creativity in Independent Music Production

Creative Industries Journal , 2021

For years, creativity has been a topic of interest for scholars in psychology, human development,... more For years, creativity has been a topic of interest for scholars in psychology, human development, and the arts. Research on creativity has produced a growing body of literature in the art and science of music production. Correspondingly, the entertainment sector has undergone what business and entrepreneurship scholars refer to as disintermediation or a reduction of skilled labor affecting the roles and responsibilities of those working in music production. Research on creativity with independent music production (IMP) is less common. Little is known about creativity by those without access to particular domains. As the music and recording industries remain untethered, an increase in autodidactic and incremental learning processes seems likely along with the growth of new models of independent music production. Using a Bourdieusian theoretical framework, the article analyzes two skill areas in IMP, experimentation, and critical listening, and calls for a more equitable and imaginative analysis of creativity.

Fostering Trauma-Informed and Eudaimonic Pedagogy In Music Education

Frontiers in Education, 2021

The arts and entertainment sectors remain fragile because of the global pandemic. Unemployment, p... more 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.

Transient Soundscape Production: Creative and Pedagogical Significance for Educators and Practitioners

Sound Effects, 2021

Over the past decade, there has been a steady increase of scholarly output examining the multidis... more Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education

Leadership in the Creative Industries: Addressing an Uncertain Future (Pre-Print)

MEIEA Journal, 2020

In recent years, the rise of the gig economy has brought a host of freelance opportunities for pe... more In recent years, the rise of the gig economy has brought a host of freelance opportunities for people working in creative arts professions, including music, entertainment, and media. Freelance professionals generate piecemeal income from several vocations. The freelance market's competitive nature requires recent graduates to cultivate a host of skills beyond their creative specialization. Equally concerning is the precarious state of the arts and entertainment sectors amid global health and financial collapse. In such uncertainty, the timing is right to consider how educators best prepare students to succeed in the coming years. This article argues for a shift in pedagogical mindset from an entirely skill-based model to a more holistic approach drawing on Leadership across four areas: Creativity, Sustainability, Vision, and Community. The article puts forward a new theory, Creative Industries Leadership, to encourage cooperative and holistic teaching and learning framework in the creative industries.

Blurred Lines: Practical and Theoretical Implications of a DAW-based Pedagogy

Journal of Music, Technology & Education, 2020

Digital Audio Workstations (DAWs) occupy a prominent space in the creative arts. Songwriters, com... more 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, 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. (Final accepted version, not copy-edited)

Music Technology Educators’ Use of Andragogical Principles for Adult Students Using Technology for Learning

CMS Symposium (Forthcoming) , 2020

This pilot study investigated andragogical principles adopted by music technology educators worki... more This pilot study investigated andragogical principles adopted by music technology educators working with non-traditional students (NTM’s) using technology. Andragogical methodologies respect the prior lived experience of adults and establish a collaborative relationship between teacher and student. A modified, 51-question Principles of Adult Learning Scale (PALS) survey was administered online to music educators (N = 53). Respondents were organized into two groups including higher education (n = 41) and Other (online, K-12, and community educators, n = 12). Results showed that there were significant differences among university educators on 16 out of the 51 PALS questions and significant differences between the university educator group and the Other group on four out of the 51 PALS questions. PALS data revealed that there was a relationship between the andragogical concepts adopted by music technology educators and increased use of technology by adult learners. Implications for music technology and adult learning are discussed along with recommendations for future research.

(This is the accepted and pre-copyedited version)

Introduction: Audio Education and the Makings of Creative and Inclusive Scholarship

Audio Education: Theory, Culture, and Practice , 2020

This is the pre-copyedited version of the Introduction to Audio Education: Theory, Culture, and P... more

Teaching a Computer to Sing: Integrating Computing and Music in an After-School Program for Middle School Students

Integrating Digital Technology in Education: School-University-Community Collaboration (edited by Reardon et al.) , 2019

The goal of this work was to research ways in which the teaching of basic computing skills could ... more The goal of this work was to research ways in which the teaching of basic computing skills could be integrated into an after-school choral program. The team studied how to adapt the interdisciplinary, computing + music activities developed in an earlier NSF-funded project with college-aged students to introduce middle school-aged students to computing in an informal, after-school choral program. They investigated how to leverage the universal appeal of music to help students who typically shy away from technical studies to gain a foothold in STEM (Science, Technology, Engineering, and Mathematics) by programming choral music. This work was funded by the Advancing Informal STEM Learning (AISL) program, which sought to advance new approaches to, and evidence-based understanding of, the design and development of STEM learning in informal environments. The AISL program included providing multiple pathways for broadening access to and engagement in STEM learning experiences, advancing innovative research on and assessment of STEM learning in informal environments, and developing understandings of deeper learning by participants. (This is the pre-copyedited version for IAP.)

Digital Storytelling, Reflective Teacher Inquiry, and Student Learning: Action Research via Media Technology

Bloomsbury Handbook of Popular Music Education, 2019

Pre-copyedited version of book chapter for the Bloomsbury Handbook of Popular Music Education edi... more

The Loom Machines of Boott Mill (Lowell): A Soundscape Inspired Composition from the New England Soundscape Project

Leonardo Music Journal (Forthcoming) , 2019

The author reports on the development of an original piece, Boott Mill (Lowell), which takes fiel... more The author reports on the development of an original piece, Boott Mill (Lowell), which takes field recordings of loom machines from the Lowell Historical Museum in Massachusetts, and ends up with a fully realized composition featuring percussion, strings, keyboards, and assorted musical textures. (Accepted version for publication)

Transformational Leadership Considerations in Music Technology

Journal of Performing Arts Leadership in Higher Education

As a growing subject in university settings music technology lacks a primary set of Leadership th... more As a growing subject in university settings music technology lacks a primary set of Leadership theories that underscore research, pedagogy, and sociocultural engagement. To date, there is very little scholarship pairing music technology with Leadership. As a scholarly and professional discipline, music technology suffers from a lack of clarity and inclusivity. Adding to this dilemma is the fact that there is no clear distinction between what a music technologist does, or how Leadership might improve music technology’s function in performing arts and related disciplines. This article considers Transformational Leadership as a possible model to inspire dialogue, mentoring, and collaboration among educational stakeholders. Additionally, by offering examples from industry and higher education, the author reflects on a collaborative, communally focused concept of Transformational Leadership designed to bring lasting changes to music technology disciplines.

Teaching a Computer to Sing: Integrating Computing and Music in a Middle School, After-School Program

by Jesse Heines (via Google Drive) and Daniel Walzer

CCSCNE 2018 Proceedings

This paper reports on an after-school program that introduced middle school students to computing... more This paper reports on an after-school program that introduced middle school students to computing through music. The program ran for two years, from October 2015 through April 2017. It involved singing, encoding music with ABC notation, and programming music with Pencil Code. We describe the program's goals and the activities students pursued, as well as suggestions for improvement. While rigorous evaluation of such a program is difficult, we present survey and focus group results that show that students' attitudes toward the program were positive and that they did learn some programming.

Building a Conceptual Model of Independent Studio Production in Undergraduate Music Technology Courses Through Authentic Assessment

by Jerelle Austin and Daniel Walzer

College Music Society Symposium, 2024

In this article, the authors put forward a Conceptual Model of Independent Studio Production (ISP... more In this article, the authors put forward a Conceptual Model of Independent Studio Production (ISP) in undergraduate music technology courses. Independent Studio Production reflects the increasingly multifaceted nature of the recording industry, where artists frequently occupy multiple roles in the creative process, including producer, audio engineer, promoter, and distributor. Studio recording happens in various places, including bedrooms, full-scale professional facilities, on tour, and entirely through the Internet. Therefore, designing assessments that carefully measure technical, theoretical, and creative skills that independent musicians encounter in myriad spaces may yield a more flexible approach to teaching music production. Though studio pedagogy has a rich tradition in music technology and audio engineering courses, many high-end recording studios have closed or been forced to change their business models in recent years. Additionally, while students frequently have access to high-end facilities during their studies, they often record at home and collaborate online. The ISP Conceptual Model encourages iterative curricular development through Authentic Assessment. After a brief synopsis of Authentic Assessment, we discuss AA implementation into three undergraduate music technology courses. The article concludes with suggestions on ways educators might integrate the ISP Conceptual Model through backward design.

Digital Storytelling as a Supplemental Resource for Improving Critical Thinking and Research Skills in Undergraduate Capstone Courses

Journal of Media Education

In the current study, the authors report on using Digital Storytelling (DST) as a pedagogical int... more In the current study, the authors report on using Digital Storytelling (DST) as a pedagogical intervention to supplement research skills in undergraduate capstone courses over three semesters in a university music technology program. DST involves using music, sounds, voiceover narration, and visual content to produce stories on specialized topics. Data collection includes survey responses, analysis of selected projects, and an overview of the course revision process through interdisciplinary collaboration. The paper concludes with implications for practice in media education and beyond.

Considering Leadership Pedagogy in Creative Arts Education

Journal of Leadership Education, 2024

In the following theoretical article, the author generates a theory of Leadership Pedagogy and it... more In the following theoretical article, the author generates a theory of Leadership Pedagogy and its connection to Creative Arts Education. The connections between Leadership Studies and Arts Education are less known, particularly in the post-COVID landscape, where career paths remain fluid after graduation. The article analyzes Leadership Theory across three pillars: Socio-relational, Cognitive, and Creative, and how these areas underscore thoughtful and caring pedagogy and inclusive teaching in undergraduate education. Drawing on the Scholarship of Teaching and Learning (SoTL), the article advocates for a flexible, multifaceted approach to curricular design rooted in theoretical pluralism, prioritizing interdisciplinary methods to bridge theory and practice in Creative Arts Education. The article concludes with implications for future research and collaboration connecting Leadership Studies and the Arts.

JPME Special Edition: Editorial

Journal of Popular Music Education , 2023

The author introduces the Special Issue commemorating the 25th-anniversary of Any Sound You Can I... more The author introduces the Special Issue commemorating the 25th-anniversary of Any Sound You Can Imagine: Making Music/Consuming Technology by Paul Théberge. The author discusses how Théberge's scholarship introduced new conceptions of technology in popular music teaching and learning by drawing on themes of musicking and technology-mediated ontology. The author concludes with a brief reflection on Théberge's continuing influence in popular music education.

Editorial: Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives

Journal of Music, Technology & Education, 2023

The Guest Editors introduce the Special Issue:‘Exploring Audio and Music Technology in Education:... more The Guest Editors introduce the Special Issue:‘Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives’. As the body of research on audio and music technology continually expands, the guest editors provide a brief overview of emerging scholarship on music technology education (MTE) from various disciplines and theoretical perspectives and their implications for teaching and learning. After a summary of the articles in the issue, the Guest Editors conclude with implications for future music and audio technology research in educational settings.

Sonic Thinking as a Tool for Creativity, Communication, and Sensory Awareness in Music Production

Thinking Skills and Creativity, 2021

Sonic thinking connects art and science with the phenomenological and tactile experiences of focu... more Sonic thinking connects art and science with the phenomenological and tactile experiences of focused listening. Inspired by multiple fields, including sound studies, music education, and philosophy, sonic thinking embraces an open-ended inquiry process—one that values a personal connection to sound and its associated meanings and contexts. Aural awareness and critical listening comprise essential skills for audio engineers and musicians training for careers in music production. However, more research is needed to understand better how educators can inspire these skills in a holistic manner that avoids overreliance on technocratic pedagogical models. There are gaps in the disciplinary boundaries of acoustics and sonic thinking. The cognitive and communicative binaries between recorded and non-recorded media are also challenging to integrate cohesively. What does it mean to “feel” sound in the body and model that connection for others in the recording studio and beyond? How does an audio engineer communicate abstract and esoteric concepts about sound to the artist? This article examines the practical and theoretical implications of sonic thinking and how educators guide students to a holistic and multifaceted understanding of sound and creative practice in the recording studio.

Special Issue: 'Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives' (Call for Papers)

by Daniel Walzer, Jan Herbst, and Andrew King

Journal of Music, Technology & Education, 2021

The past decade has seen increased interest in the pedagogical facets of audio engineering, sound... more The past decade has seen increased interest in the pedagogical facets of audio engineering, sound design, music technology and related fields. Much of this rising
interest in the teaching and learning aspects of sound corresponds to a growing number of institutions offering training options for people interested in the technical,
creative, scientific and cultural aspects of audio. However, while the options for learning about such topics have expanded, there remains a dearth of scholarship on
the theoretical, sociocultural and interdisciplinary aspects of audio and its connection to teaching and learning in a broad array of institutions. Also, little scholarship
has emphasized a professional development model for the educational aspects of audio, particularly for those working with the next generation of practitioners in all educational contexts. What impact do audio and music corporations have on facilities and curricular decision-making? For this Special Issue of the Journal of Music, Technology & Education, the guest editors seek contributions addressing one or more of the topics below:

• graduate teaching and research in audio education;
• diversity, equity and inclusion (DEI) in audio education;
• improving the quality of teaching and learning in audio education;
• sociocultural, historical and interdisciplinary aspects of audio education;
• limitations of a technocratic model of pedagogy in audio education;
• education-industry partnerships in promoting communities of learning and practice;
• impact of professionalization and standardization of curriculum by corporations;
• audio education as an emerging academic field for research and practice;
• global perspectives on audio education;
• social media, online communities and informal learning;
• pandemic-related case studies including hybrid/online learning strategies; and
• school-based (elementary, secondary, high school) and community-based learning
perspectives/collaborations.

Other topics relating to audio education are also welcome. Please submit full papers by 1 April 2022 via the journal’s page on the Intellect website. Expected publication date in late 2022 or early 2023. Questions about the CFP are welcome and may be
addressed to Daniel Walzer at [email protected].

CfP JPME Any Sound You Can (Re) Imagine: (Call for Papers)

Journal of Popular Music Education

2022 marks the 25th anniversary of Any Sound You Can Imagine: Making Music / Consuming Technology... more 2022 marks the 25th anniversary of Any Sound You Can Imagine: Making Music / Consuming Technology, a 'book about the role of recent digital technologies in the production of popular music…the industries that supply these technologies, the media that promote them, and the meanings they have for the musicians who use them' (Théberge 1997: 5). A groundbreaking and interdisciplinary study drawing on music technology, cultural studies and popular music, Théberge's research examined the complicated tensions among production and consumption, capitalism and consumerism, and what Henry Jenkins (2006) would later refer to as convergence culture, an interconnectedness among 'media convergence, participatory culture, and collective intelligence' (n.p.). Music production and consumption remain complex, as does the influence that corporations exert on virtually all aspects of the creative process. Prescient today as much as it was then, Any Sound You Can Imagine remains essential reading for scholars in popular music and technology.

Towards an Understanding of Creativity in Independent Music Production

Creative Industries Journal , 2021

For years, creativity has been a topic of interest for scholars in psychology, human development,... more For years, creativity has been a topic of interest for scholars in psychology, human development, and the arts. Research on creativity has produced a growing body of literature in the art and science of music production. Correspondingly, the entertainment sector has undergone what business and entrepreneurship scholars refer to as disintermediation or a reduction of skilled labor affecting the roles and responsibilities of those working in music production. Research on creativity with independent music production (IMP) is less common. Little is known about creativity by those without access to particular domains. As the music and recording industries remain untethered, an increase in autodidactic and incremental learning processes seems likely along with the growth of new models of independent music production. Using a Bourdieusian theoretical framework, the article analyzes two skill areas in IMP, experimentation, and critical listening, and calls for a more equitable and imaginative analysis of creativity.

Fostering Trauma-Informed and Eudaimonic Pedagogy In Music Education

Frontiers in Education, 2021

The arts and entertainment sectors remain fragile because of the global pandemic. Unemployment, p... more 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.

Transient Soundscape Production: Creative and Pedagogical Significance for Educators and Practitioners

Sound Effects, 2021

Over the past decade, there has been a steady increase of scholarly output examining the multidis... more Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education

Leadership in the Creative Industries: Addressing an Uncertain Future (Pre-Print)

MEIEA Journal, 2020

In recent years, the rise of the gig economy has brought a host of freelance opportunities for pe... more In recent years, the rise of the gig economy has brought a host of freelance opportunities for people working in creative arts professions, including music, entertainment, and media. Freelance professionals generate piecemeal income from several vocations. The freelance market's competitive nature requires recent graduates to cultivate a host of skills beyond their creative specialization. Equally concerning is the precarious state of the arts and entertainment sectors amid global health and financial collapse. In such uncertainty, the timing is right to consider how educators best prepare students to succeed in the coming years. This article argues for a shift in pedagogical mindset from an entirely skill-based model to a more holistic approach drawing on Leadership across four areas: Creativity, Sustainability, Vision, and Community. The article puts forward a new theory, Creative Industries Leadership, to encourage cooperative and holistic teaching and learning framework in the creative industries.

Blurred Lines: Practical and Theoretical Implications of a DAW-based Pedagogy

Journal of Music, Technology & Education, 2020

Digital Audio Workstations (DAWs) occupy a prominent space in the creative arts. Songwriters, com... more 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, 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. (Final accepted version, not copy-edited)

Music Technology Educators’ Use of Andragogical Principles for Adult Students Using Technology for Learning

CMS Symposium (Forthcoming) , 2020

This pilot study investigated andragogical principles adopted by music technology educators worki... more This pilot study investigated andragogical principles adopted by music technology educators working with non-traditional students (NTM’s) using technology. Andragogical methodologies respect the prior lived experience of adults and establish a collaborative relationship between teacher and student. A modified, 51-question Principles of Adult Learning Scale (PALS) survey was administered online to music educators (N = 53). Respondents were organized into two groups including higher education (n = 41) and Other (online, K-12, and community educators, n = 12). Results showed that there were significant differences among university educators on 16 out of the 51 PALS questions and significant differences between the university educator group and the Other group on four out of the 51 PALS questions. PALS data revealed that there was a relationship between the andragogical concepts adopted by music technology educators and increased use of technology by adult learners. Implications for music technology and adult learning are discussed along with recommendations for future research.

(This is the accepted and pre-copyedited version)

Introduction: Audio Education and the Makings of Creative and Inclusive Scholarship

Audio Education: Theory, Culture, and Practice , 2020

This is the pre-copyedited version of the Introduction to Audio Education: Theory, Culture, and P... more

Teaching a Computer to Sing: Integrating Computing and Music in an After-School Program for Middle School Students

Integrating Digital Technology in Education: School-University-Community Collaboration (edited by Reardon et al.) , 2019

The goal of this work was to research ways in which the teaching of basic computing skills could ... more The goal of this work was to research ways in which the teaching of basic computing skills could be integrated into an after-school choral program. The team studied how to adapt the interdisciplinary, computing + music activities developed in an earlier NSF-funded project with college-aged students to introduce middle school-aged students to computing in an informal, after-school choral program. They investigated how to leverage the universal appeal of music to help students who typically shy away from technical studies to gain a foothold in STEM (Science, Technology, Engineering, and Mathematics) by programming choral music. This work was funded by the Advancing Informal STEM Learning (AISL) program, which sought to advance new approaches to, and evidence-based understanding of, the design and development of STEM learning in informal environments. The AISL program included providing multiple pathways for broadening access to and engagement in STEM learning experiences, advancing innovative research on and assessment of STEM learning in informal environments, and developing understandings of deeper learning by participants. (This is the pre-copyedited version for IAP.)

Digital Storytelling, Reflective Teacher Inquiry, and Student Learning: Action Research via Media Technology

Bloomsbury Handbook of Popular Music Education, 2019

Pre-copyedited version of book chapter for the Bloomsbury Handbook of Popular Music Education edi... more

The Loom Machines of Boott Mill (Lowell): A Soundscape Inspired Composition from the New England Soundscape Project

Leonardo Music Journal (Forthcoming) , 2019

The author reports on the development of an original piece, Boott Mill (Lowell), which takes fiel... more The author reports on the development of an original piece, Boott Mill (Lowell), which takes field recordings of loom machines from the Lowell Historical Museum in Massachusetts, and ends up with a fully realized composition featuring percussion, strings, keyboards, and assorted musical textures. (Accepted version for publication)

Transformational Leadership Considerations in Music Technology

Journal of Performing Arts Leadership in Higher Education

As a growing subject in university settings music technology lacks a primary set of Leadership th... more As a growing subject in university settings music technology lacks a primary set of Leadership theories that underscore research, pedagogy, and sociocultural engagement. To date, there is very little scholarship pairing music technology with Leadership. As a scholarly and professional discipline, music technology suffers from a lack of clarity and inclusivity. Adding to this dilemma is the fact that there is no clear distinction between what a music technologist does, or how Leadership might improve music technology’s function in performing arts and related disciplines. This article considers Transformational Leadership as a possible model to inspire dialogue, mentoring, and collaboration among educational stakeholders. Additionally, by offering examples from industry and higher education, the author reflects on a collaborative, communally focused concept of Transformational Leadership designed to bring lasting changes to music technology disciplines.

Teaching a Computer to Sing: Integrating Computing and Music in a Middle School, After-School Program

by Jesse Heines (via Google Drive) and Daniel Walzer

CCSCNE 2018 Proceedings

This paper reports on an after-school program that introduced middle school students to computing... more This paper reports on an after-school program that introduced middle school students to computing through music. The program ran for two years, from October 2015 through April 2017. It involved singing, encoding music with ABC notation, and programming music with Pencil Code. We describe the program's goals and the activities students pursued, as well as suggestions for improvement. While rigorous evaluation of such a program is difficult, we present survey and focus group results that show that students' attitudes toward the program were positive and that they did learn some programming.

Review of Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education, and Society

A review of Ed Sarath's Improvisation, Creativity, and Consciousness for the Music Educator's Jou... more

Pensado's Place

A short review of Pensado's Place for the Journal of Radio and Audio Media.

E is for Expressive: Branding and Customizing E-Portfolios in Audio Education

A tightly edited demonstration reel showcasing the best snippets of recording studio production, ... more A tightly edited demonstration reel showcasing the best snippets of recording studio production, live mixes, broadcast and sound design, music and multimedia compositions, product and interface development, and creative thesis research are a few of the crucial elements to include in the undergraduate audio student's electronic portfolio. Final capstone courses often give students the opportunity to refine their projects, take part in an internship or co-op, and prepare the résumé to research career prospects. Emerging and affordable web-based and mobile technologies, rich with new media applications, allow undergraduate audio students to create an individualized digital narrative that extends beyond the demo reel. Students sculpt their creative, artistic, technical, and reflective personality through video diaries, thoughtful use of new media applications, search engine optimization tools, and targeted networking. This presentation considers the expressive ways audio educators should carefully guide students to create a significant web-based brand identity, giving employers deeper insights into their complete audio-centered persona, thus enhancing employment prospects after graduation.

“Teaching a Computer to Sing”: Preliminary Findings from A Middle School After-School Pilot Program Integrating Computer Programming and Music Education.

This paper presents initial outcomes from the first year of a two-year project funded by the Adva... more This paper presents initial outcomes from the first year of a two-year project funded by the Advancing Informal STEM Learning (AISL) program of the National Science Foundation (NSF). The project is a partnership between the Bartlett Community Partnership School in Lowell, Massachusetts, and the Computer Science and Music departments at the University of Massachusetts Lowell. The authors are frequent collaborators, with mutual research interests in interdisciplinary education, computing and music-related technologies, artistic performance, and community learning. They offer varied perspectives on how an integrated Computing+Music program encourages diverse skill acquisition through supportive and nurturing environments for middle school students. Building on recent multidisciplinary research in two predecessor an NSF-funded projects, " Teaching a Computer to Sing " investigates how middle school students—aged ten to fourteen—build critical thinking and problem-solving skills through informal, yet cogent learning activities in a voluntary after-school choral program. This paper explores how deploying age-appropriate, music-centered, and technology-mediated pursuits gives middle school students a chance to explore the connections between academic fields that are normally offered as isolated, grade-specific courses in formal classrooms. It argues that pertinent, multidisciplinary instructional experiences engage middle school students at a pivotal stage in their cognitive and emotional development through the collective appeal of popular music, informal learning, sociocultural mentorship, and accessible technology.

Creative Use of Synthestration and MIDI Virtual Instruments in a Jazz Recording and Film Scoring Context

This paper explores the musical and sonic possibilities of scoring a chamber orchestra piece to a... more This paper explores the musical and sonic possibilities of scoring a chamber orchestra piece to an existing jazz trio recording using MIDI virtual instruments commonly found in digital audio workstations and high‐quality sample libraries. This presentation carefully examines MIDI orchestration as a creative process in !ilm scoring and music production in a way that supports the visual narrative. Issues concerning tempo matching, authentic versus sampled instrumentation, scoring and arranging aesthetics, sonic balance and realism, manipulation of MIDI data, stereo imaging, performance authenticity and listening perspectives re!lect compositional approaches towards a clear and balanced soundtrack where virtual instruments support the jazz recording and film score.