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This paper presents a taxonomy of learning outcomes in critical listening for sound engineers. Derived from the literature on auditory perception and broader classifications of perceptual processes, the taxonomy segregates critical listening processes to improve curriculum development and pedagogical practices in the field. Building on previous findings that begin to support this taxonomy, its effectiveness as an educational tool is qualitatively assessed using learning journals and focus groups with 51 audio engineering students. This evaluation leads to a refinement of the taxonomy which offers a more robust classification of listening processes.
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This paper describes student participant training, content selection, and administration of a subjective test to evaluate xHE-AAC. The primary goal was to examine the possibility that students could be trained to perceive impairments in broadcast content. Years of musical training, ability to distinguish bitrates, and time required for rating the materials was examined. Data on how long listeners listen to the references, the coded signals, and the influence of these factors on ratings were analyzed. Listeners were trained to perceive impairments in broadcast content. A secondary goal was to find the bit rate at which the codec xHE-AAC becomes transparent. Eight audio excerpts from the Netflix catalogue were processed at 64, 128 and 192 kbps and were compared to 48 kHz, 32-bit floating reference samples, using the ITU-R BS.1116-3 protocol. Impairment scores were statistically different from the reference for six of eight audio samples at 64 kbps, and for three audio samples at 128 kbps. Mean impairment scores for 192 kbps were not significantly lower than scores of the reference for five samples. Listeners perceived artifacts in most audio samples at 64 kbps. At 128 kbps artifacts were detected in fewer samples, but with greater consistency than at 192 kbps. The results indicate student listeners can be trained to perceive and evaluate impairments in broadcast content.
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In this paper a scalable and adaptable solution for the AV design of a hybrid music teaching space is proposed. With the goal of making the AV not interfere with the delivery of lectures from a technical perspective, the solution provides a creative use of audio DSP processors in order to achieve this. The main factors that make the university’s standard HyFlex AV design not suitable for music education are identified, and a design method based on separate microphone subsets is suggested. These subsets can be adapted for the appropriate speech and musical sources. In addition, automatic sound source detection and switching are introduced to achieve the desired technical unobtrusiveness. Finally the results are analysed and compared to those of a standard HyFlex system.
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Observation and physical recall of expert interactions plays a key role in assimilating knowledge of audio technology workflows and practices, and is a main component of development within traditional apprenticeship pathways. Comparatively, higher-level audio education (AE) programmes may lack the resources for extensive implementation of such approaches, instead relying upon developing mixing subskills within situationally representative software and assistive educational technologies. This constraint presents a unique opportunity for the realm of educational mixing technologies, which can utilize observational learning methods to relay contextual audio processing procedures. This paper theorizes embedding observational learning within ear training paradigms to potentially facilitate procedural and behavioral learning effects in the context of audio effect processing. Furthermore, this work acts as a preliminary investigation of embedding expert models into educational mixing technologies.
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Audio, Acoustics, Wellbeing and the Environment is a Masters level module designed to develop an applied understanding of how sound and noise can impact on the wellbeing of society, and the quality of the environment. It encourages students to consider how their practice, and that of their industry, can affect the environment as well as how audio and acoustics technology can be used to improve our sonic environments at work and in the home. The module explores the links between environmental noise, sound insulation and the quality of our work and home environments. It looks at how noise can affect the human auditory system and investigates mitigation and techniques for reducing the impact of noise on our health and well-being. The rationale for the module is built on the desire and expectation from students for this type of content and the requirement by professional bodies for graduates to be competent in this area. There have been challenges mainly in the sheer range of topics that fall under the remit of the module and finding a narrative through these. These were addressed by providing lots of signposted reading material and also focusing on a small number of key narrative themes (the impacts of noise, wellbeing and the environment). Policy and standards documents were vital tools to drive the teaching and learning process. The module has been successful in engaging students and stimulating interesting discussion in taught sessions.
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Work experience is clearly of great value to students in preparing for a career in the Creative Industries. The teaching team for the BSc(Hons) Audio Technology at Glasgow Caledonian University have developed a portfolio of opportunities for students to gain work experience, the main one being involvement in Celtic Connections, the world’s largest Celtic Music Festival. This paper looks at the evolution of Celtic Connections on Campus, the key elements that have contributed to its success and what value the students place in the experience gained.
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In the UK a quarter of all students are mature students and many of them have work experience relevant to their subject of study. These students can continue their jobs whilst studying for a higher degree. When teaching an acoustics-based discipline, it is always important to explore what is the background of the individual students, and how their experience and previous education could be utilised best to progress into the new level of knowledge. The other challenge is the allocation of time for teachers to engage with the students. Considering that the students have full time jobs, their time for study is limited, and this should be reflected in timing of tutor’s comments. The deadlines for the projects and assignments should also reflect this. Depending on the group of students’ mixed education-and-experience backgrounds, the teaching of acoustics should be tailored by the tutor to ensure maximum involvement of the students as a group and as individuals. The tutor also should be flexible to adjust the material to the needs of the particular group of students.
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L-Acoustics has introduced several disruptive technologies in the live sound industry, like in 1992 with full-range line sources, or more recently with large-scale immersive audio. To accompany the end-users in mastering these new tools, training and education have always been a core foundation of the company. This paper explains the educational challenges associated with the sector of live sound and how L-Acoustics has decided to overcome them. The development of a program targeted at end-users, with structured content and elaborated methodologies has allowed the evolution from traditional product training to vocational education. The different job profiles, the associated learning objectives and courses fulfil the development of live sound professionals. In addition, the program reveals itself as a good complement to initial education curriculums that will prepare their students for the multiple job opportunities in the live sound industry.
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This paper describes the creation of the STrOOM framework, a novel approach to facilitating music education in elementary and secondary schools by utilizing information and communication technology (ICT) commonly found in the Flemish educational system in Belgium. Software programs offering tactile and non-tactile methods in audio production were used to develop lessons that support teachers in incorporating music in their classrooms to promote active cultural participation, resulting in a series of STEAM-oriented courses.
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Inspired by multi-hyphenate artists in the commercial audio industry, it has become increasingly common for students to begin their academic journey in audio education with an eagerness to explore tools that combine compo-sition, performance, and fixed-media production experiences into a single process. To match these expectations, curriculum centered on group creative projects and problem-based learning approaches to using real-time computer music platforms has been explored to provide a more immediate pathway to artistic expression while learning fundamental techniques in digital audio. As a parallel approach, the author proposes the adoption of music technology-focused ensembles into the standard audio education curriculum as an additional method of supporting students’ initial curiosity about music production skills inside a less rigid classroom and assessment structure. A case study in the author’s formation of a music technology ensemble at the University of Texas Rio Grande Valley—aimed at introductory audio education students with various levels of performance and composition experience—, this article provides an overview of the group’s success in fostering collaborative experiences in composition, interactive performance with technology, and strengthening of techniques learned in fundamental of audio courses inside of an ensemble setting. Information on the course structure, group exercises in collaborative listening and improvisation, and a detailed look at the software/hardware systems used as instruments to showcase how ensembles of a similar nature can be established at other schools and community centers.
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