Blurred lines: Practical and theoretical implications of a DAW-based pedagogy

Abstract

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 and 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.

Teaching digital audio skills – status, example scenarios and agenda for embedding the Digital Audio Workstation (DAW) GarageBand in a Digital Humanities teaching-learning scenario

“…With free-to-use or low-cost licenses for DAWs, it becomes possible to use them outside of the music industry, changing roles and responsibilities as well. Music production can thus be carried out anywhere and by anyone, which in turn also makes it attractive for educators and for the use in teaching contexts (Walzer, 2020).…”

“…Teaching concepts in which DAWs are part are often located in the field of music theory or music practice and use them to clarify, for example, signal flows, acoustic theory, or sound synthesis (Walzer, 2020). DAWs are also suitable for learning, practicing, and checking theoretical aspects of notation, chord theory or keys.…”

“…DAWs are also used in higher education. Walzer (2020) analyzes the use of DAWs for students in the field of professional sound and music design and points out the creative potential of these for the students. Vratulis and Morton (2011) analyze something similar for prospective music teachers and attribute great potential to the application.…”

“…Mäkelä (2022) also takes this up and, with reference to the history of computer science, characterizes the Digital Humanities by requirements that go beyond the application capabilities of standard software. Digital Audio Workstations (DAWs) are used in the professional music industry for composing, arranging, producing, mixing, and mastering of sound (Walzer, 2020). With freely usable or inexpensive licenses for DAWs, it becomes possible to use them outside the music industry and therefore in an educational setting.…”

ICT and music technology during COVID-19: Australian music educator perspectives

“…This has seen teachers exploring the intersection between commercial ICT—such as productivity tools (PowerPoint, Office, Zoom) as part of presentations ( Uzun & Kilis, 2019 )—professional, industry-standard audio-notation software, and online resources. Research exploring Digital Audio Workstations such as Sibelius and Ableton Live ( Marrington, 2017 ; Walzer, 2020 ), online resources such as YouTube ( Marone & Rodriguez, 2019 ; Waldron, 2013 ) and Spotify ( Ferm Almqvist, 2019 ), and the provision of online feedback to students ( Viig, 2015 ) has highlighted ways in which educators integrate ICT within the teaching and learning process.…”