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dc.contributor.authorVandemast-Bell, Paul*
dc.contributor.authorWerner, Duncan*
dc.contributor.authorCrossley, John*
dc.date.accessioned2016-03-21T13:39:51Zen
dc.date.available2016-03-21T13:39:51Zen
dc.date.issued2015-08-20en
dc.identifier.citationVandemast-Bell, P., Werner, D. and Crossley, J., (2015). Seeking Best Practice for Education and Training in the Recording Studio. 26th Audio Engineering Society Conference: Audio Education, University of Glasgow, 26-28 August. Available at: http://www.aes.org/e-lib/browse.cfm?elib=17868en
dc.identifier.urihttp://hdl.handle.net/10545/602369en
dc.description.abstractThis paper reflects on the delivery of a module in recording studio practice. The module is intended to equip level 5 students with the necessary skills to undertake final year project work whilst introducing aspiring recording artists and music producers to a career in industry. These goals are compounded by the expectations of accreditation bodies that work in partnership with academic institutions to raise the standard of graduates entering into the business of music recording and production. Drawing on the authors’ educative experiences and observations the paper highlights the challenges posed by the tension between training and education, and investigates the potential for novel approaches to curriculum design.
dc.language.isoenen
dc.publisherAudio Engineering Societyen
dc.relation.urlhttp://www.aes.org/e-lib/browse.cfm?elib=17868en
dc.subjectAudioen
dc.subjectEducationen
dc.subjectRecordingen
dc.subjectStudioen
dc.subjectTrainingen
dc.subjectBesten
dc.subjectPracticeen
dc.titleSeeking best practice for education and training in the recording studioen
dc.typeArticleen
dc.contributor.departmentUniversity of Derbyen
dc.identifier.journalAudio Engineering Societyen
html.description.abstractThis paper reflects on the delivery of a module in recording studio practice. The module is intended to equip level 5 students with the necessary skills to undertake final year project work whilst introducing aspiring recording artists and music producers to a career in industry. These goals are compounded by the expectations of accreditation bodies that work in partnership with academic institutions to raise the standard of graduates entering into the business of music recording and production. Drawing on the authors’ educative experiences and observations the paper highlights the challenges posed by the tension between training and education, and investigates the potential for novel approaches to curriculum design.


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