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Teaching Acoustics to Audio Students: A Middle Path

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This paper describes the course Acoustics: Physics of Sound, which teaches the science of acoustics to Audio Technology majors. Pedagogically this course seeks to be more rigorous than typical introductory courses to non-science majors, yet also avoids the fully calculus-based of higher level engineering courses. Audio students’ salient strengths, including familiarity with critical listening, as well as software and microphones, can be leveraged to foster deeper understanding in the language they already know - that of sound itself.

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Soft Skills & Personality Development training program enhancing the productivity of Audio-related Media Professionals

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This study examines the success rate of a unique soft skill & personal skills development program conducted along with the technical course of Sound Engineering modules, in a Mumbai (India) based Audio-education related Media institute namely, Soundideaz Academy. 105 audio-related media professionals, who had graduated from the institute in the past 10 years, responded to the rating scale-based survey. This case study & quantitative analysis-based research proves the importance of soft-skills, like Communication Skills, Time Management, Team Building, Emotions Management, Stress Management, Assertiveness Management etc, other than the audio related topics, in contributing to the ‘holistic’ development of an audio related Media Professional.

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Ambisonics in an Art School Context

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Ambisonic audio has become much more relevant in recent years with the growth of VR and related technologies. It is an ideal platform for immersive audio given its ability to recreate a soundfield that can be manipulated by basic trigonometric transforms derived from head-tracked data. Unfortunately, current literature and academic discourse in ambisonics is still dominated by a heavy mathematical bias. Within an environment such as The Glasgow School of Art, this approach to ambisonics can be deeply alienating to creative students who lack the requisite technical background. With this in mind, the authors have taught ambisonics to both postgraduate and undergraduate art school students for a number of years. We have noted that merely demonstrating the available software tools for ambisonic sound is insufficient for effective learning, but have also observed that attempting to fully teach the relevant mathematical concepts does not support effective learning for the range of students we encounter. In this paper we explore approaches for teaching ambisonics to a diverse group of students. We consider how to support a basic understanding of the fundamental mathematical concepts that they need to be aware of (basic trigonometry, vectors and 3D co-ordinate systems) while simultaneously exposing them to the aesthetic opportunities that immersive sound design can bring to their professional and artistic practice. We hope that our approaches prove useful for helping students from creative disciplines to engage with technical concepts in a meaningful way.

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Back to the Future: Reintroducing Analog and Vinyl Audio Production to Digital Natives

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This paper describes a case study involving the reintroduction of analog vinyl theory and production practice at a university media school. In order to quickly meet student and industry demand, an industry partnership approach was used involving a manufacturer of new vinyl pressing equipment, a major vinyl pressing plant, as well as a local vinyl mastering facility. New supporting curriculum was “triaged” into an existing audio theory course and students formed a production collective with the objective of producing a quality vinyl showcase of student-produced music. The result was “The Resurgence”, a vinyl release that achieved acclaim and generated even more interest in the wider student population for a continuation and expansion of the analog curricular initiative. A second iteration of the course was delivered remotely during Covid lockdowns in 2021, requiring further evolution to facilitate both remote collaborative music production as well as in-house virtual mastering of four new vinyl releases.

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Syllabus of Technical Listening Training in Kyushu University

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This paper focuses on the syllabus of technical listening training in the course of the Acoustic design of the school of design, Kyushu University. The author gives ear training to about 50 students in a class. The ?rst step is discriminating a difference. The next step is the identi?cation of sound pressure levels. Moreover, proceed to acquire the concept of frequency and spectrum. Students take training to identify pure tone frequency and identify the center frequency of bandpass noise. Then proceed to take training of identi?cation of the center frequency of an octave band equalizer emphasize. The training effects using the past ten years of training data are also described in this paper.

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Educational Strategies in Critical Listening: Interviews with Instructors.

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This paper presents the findings from interviews with ten educators in the field of critical listening. The purpose of this investigation is to establish strategies for pedagogues in the field as there is currently limited information available for curriculum and lesson planning. The interviews uncovered agreed upon critical listening processes which could form the basis of a taxonomy for educational purposes. They also offered numerous teaching methods, tools, assessments, and learner-centered considerations. This research provides the basis for subsequent studies regarding the effectiveness of educational strategies in critical listening.

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Audio Podagogy: A Scaffolded Podcast-Based Approach to Teaching Audio Production Fundamentals

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This case study looks at the redevelopment of the mandatory first-year introductory audio production course at Ryerson University’s RTA School of Media. With the aim of developing fundamental audio production skills that sustain students in future productions across a range of media disciplines, the instructional design team created a podcast-based pedagogy wherein each student develops a pilot for a podcast series. This project is achieved through a scaffolded process wherein the podcast is broken down into smaller components that realize student competencies in studio and field recording, editorial, mixing, sound design, and live radio production. Beyond these core competencies, students emerge with portfolio-ready material that is a strong indicator of their media production talents.

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The Junior Producers Club: A case study of utilizing a community outreach to promote diversity, independent thinking, and music production

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The Junior Producers Club is a successful immersive learning project that started in the fall of 2019. The project promotes inclusion, diversity, independent thinking and a reinforcement through practical application of learned material. The Junior Producers Club is a community outreach woven into a three-credit hour course. In close collaboration with a community partner, Ball State Music Media Production students work with high school and middle school students from a diverse background. The outreach spanned from installing a project studio, computer lab and acoustic treatment, to weekly meetings conducted by student teaching teams. The project was successful in fostering independent thinking, ability to compromise, teamwork, and engaging with culturally diverse students.

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Scaling student sessions – Syllabi elements that enable one student’s recording session to advance all students’ learning

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Independent, student-led recording sessions are an essential part of audio education. However, studio resources are a finite asset. Students and educators long for more studio time; administrators need to see maximum return on facility investments. While many learning models exist, pedagogy motivated by experiential learning theories can inform the design of in-studio assignments, strategically tied to specific in-class activities, which can better leverage limited studio experiences across a class population. Formal apprenticeships are a proven way for the audio student to obtain a deep practical skillset. This paper shares elements of syllabi which have been shown to improve outcomes related to audio engineering practice, achieved within the more typical curriculum model that includes on-campus, semester-long applied recording courses.

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Audio education in Ecuador: an overview of the Music and Sound Production program at Universidad de las Artes

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Universidad de las Artes is the first publicly funded arts university in the country, situated in Guayaquil – Ecuador. The Music and Sound Production program, part of the School of Sonic Arts (Escuela de Artes Sonoras), has been running for its 5th year, with the first cohort of students already graduated. This text will give a clear overview of the history of the program and how it’s becoming the leading music production program available in the country. This paper also contains an overview of the current academic program, where it shows a brief explanation of the curriculum and how it has evolved during the first years. Also, how it follows the school's perspective of teaching, focusing on interdisciplinary practices, new technologies and a decolonized thinking. As well as, having an impression of its five itineraries or pathways that students can take. Furthermore, it will take a look into the admission process, the articulation with the other programs, its infrastructure and the future of the program.

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                 Search Results (Displaying 1-10 of 38 matches)
AES - Audio Engineering Society