In this article I discuss how phenomenology can offer the philosophical foundation and practical insights for teaching creative music technology in higher education. I start discussing some of the challenges faced by lecturers and course designers working with music technology. Then, I summarize a few contributions of phenomenology for education, music studies and music education, followed by a short discussion about the relationship between music and technology in electroacoustic music and music production. To conclude, I discuss how this reflection can offer useful insights and suggestions to lecturers and courses designers working in the field at colleges and universities.

Since the 1950s the spatiality of sound has become a key concept in different fields of artistic practice, emerging as one of the most relevant subjects in the contemporary arts. Ideas related to sound and space have been used in different discourses and practices to refer to or to explore perceptually different facets of the spatiality of sound. In the field of fine art they have been associated with the emergence of sound art, while in music, they have been associated with spatial music. In spite of this widespread interest in sound and space, the uses of spatial concepts in relation to sound and music have been inconsistent, with different authors and practitioners referring to different aspects of the complex relationship between the two. In this article I suggest a typology with five categories to describe five meanings of space I identified in the recent literature of music and sound art: metaphor, acoustic space, sound spatialisation, reference and location. With this typology I expect to clarify the contemporary uses of space and spatial concepts in music and sound art.

No abstract

No abstract