Technology-Driven Curricular Innovation for Performing Arts Technology 200/201/202
Academic Year:
2017 - 2018 (June 1, 2017 through May 31, 2018)
Funding Requested:
$10,000.00
Project Dates:
-
Overview of the Project:
We propose innovative strategies for teaching introductory topics in recording engineering and music production. These techniques are intended for a newly created course, PAT 200/Introduction to Electronic Music (targeted primarily at non-PAT-major students, and being discussed for inclusion in a potential Popular Music minor), as well as existing PAT 201/Introduction to Computer Music and PAT 202/Computer Music courses for majors. Together, these courses reach 25 PAT majors and upwards of 300 students from other majors each year.
We are developing new approaches to instruction and hands-on practice in microphone selection, positioning, and mixing. Previously, these topics could only be explored in group settings, and in highly-equipped recording studio spaces not accessible to introductory courses. Technological advancements, coupled with new pedagogical approaches, make it possible for us to teach these materials in more modestly-equipped classroom spaces such as our Music Technology Lab, and to give novice students individualized, practical experience with these key techniques.
We intend to broaden the musical diversity of our curriculum, and thereby increase the inclusivity of our teaching, by adopting new approaches to instruction in music production. Hip-hop and other styles of global contemporary electronic music production are increasingly centered on sample-triggering hardware control surfaces. By embracing these devices for both new pedagogical materials around electronic drum programming and sample manipulation, and existing topics including live performance, we can convey to students from diverse backgrounds that we embrace genres of music important to them, and help to inspire their creative work in the classroom and beyond.
We are developing new approaches to instruction and hands-on practice in microphone selection, positioning, and mixing. Previously, these topics could only be explored in group settings, and in highly-equipped recording studio spaces not accessible to introductory courses. Technological advancements, coupled with new pedagogical approaches, make it possible for us to teach these materials in more modestly-equipped classroom spaces such as our Music Technology Lab, and to give novice students individualized, practical experience with these key techniques.
We intend to broaden the musical diversity of our curriculum, and thereby increase the inclusivity of our teaching, by adopting new approaches to instruction in music production. Hip-hop and other styles of global contemporary electronic music production are increasingly centered on sample-triggering hardware control surfaces. By embracing these devices for both new pedagogical materials around electronic drum programming and sample manipulation, and existing topics including live performance, we can convey to students from diverse backgrounds that we embrace genres of music important to them, and help to inspire their creative work in the classroom and beyond.