1. Learning with Purpose Multitrack Session Analysis: A Framework for Building Popular Music Literacy 2015 APME Conference University of Miami – Frost School of Music Daniel A. Walzer Assistant Professor of Composition and New Media University of Massachusetts Lowell 6-12-15

2. Learning with Purpose Shared User Networks Businesses Must Adjust Rise of the Internet Buying Habits Change Global Media Expansion Changes Reflected in the Music Industry Promotion and DistributionPhysical and Digital Products

3. Learning with Purpose Digital Audio Workstation USB Microphone and Interface Nonlinear Editing Mobile Technology High Speed Internet Access Social Networks with Creative Interests Accessible for All Levels Using and Remixing Content Role of Digital Technology Production Tools and Open Access Culture

4. Learning with Purpose Global network allowing musicians to collaborate on multitrack sessions from anywhere in the world. Entire culture of users that define the company’s brand and mission. Proprietary interface and session management software and partnered with Creative Commons for licensing purposes. Frequent collaborator with mainstream artists for remix contests – make multitrack sessions available for download. Indaba Music A Brief Overview Image courtesy of Indaba Media LLC Creative Commons 3.0 License

5. Learning with Purpose Modern Musicality Recording Techniques Collaboration Via File Exchange Native Language of Millennial Generation Networking and Promotion Democracy of Gender and Race User and “Indie” Friendly Shared Connection Via Technology The Online Network Curricular Model Musicianship – Culture – Entrepreneurship

6. Learning with Purpose Critical Listening Exercises Survey Courses– Identifying Broad Music Characteristics Applied Lessons – Identifying Musical Characteristics of Tracks for Informal Emulation Sound Engineers – Identifying Sonic Characteristics Music Theory – Transcription, Notation, Formal Structure, Arranging and Analysis Creative Exercises Group Work – Co-writing a Song to “Pitch” Remix– Using Tracks to Create a New Work Mix Emulation– Mixing “In the Style Of” Historical Media Analysis – Video Blog, Tutorial, Biographical Presentation Multitrack Sessions and Digital Audio Workstations Applications in Popular Music Education

7. Learning with Purpose Millennial Learning Outcomes Multimodal Literacy Analytical Cultural & Creative Technological

8. Learning with Purpose Use Affordable and Accessible Tools Allow Time for Tech Remediation if Necessary Consider Supplementing with Music Business Discussions and Case Studies Helpful in Distance Courses, Blackboard/Moodle Etc. Encourage Creativity and Discovery Gradual Implementation Works Well Encourage New Media Reflexive Exercises Group Projects! Have Fun and Tailor As Needed for Each Course Final Issues to Consider Pedagogical and Philosophical

9. Learning with Purpose Thank You! Email: Daniel_Walzer@uml.edu for a copy of the full paper.

10. Learning with Purpose Berkley, R. (2001). Why is teaching composing so challenging? A survey of classroom observation and teachers' opinions. British Journal of Music Education, 18(2), 119-138. Retrieved June 2, 2015, from http://artsonline2.tki.org.nz/documents/TeachingComposing.pdf. http://artsonline2.tki.org.nz/documents/TeachingComposing.pdf Cayari, C. (2011). The YouTube effect: How YouTube has provided new ways to consume, create, and share music. International Journal of Education & the Arts, 12(6), 1-30. Retrieved June 3, 2015, from http://www.ijea.org/v12n6/. http://www.ijea.org/v12n6/ Green, L. (2006). Popular music education in and for itself, and for "other music": Current research in the classroom. International Journal of Music Education, 24(2), 101-118. Retrieved March 30, 2015, from http://eprints.ioe.ac.uk/1108/1/Green2006Popular101.pdf.http://eprints.ioe.ac.uk/1108/1/Green2006Popular101.pdf Iowerth, M., Paterson, D., & Sheridan, M. (2013). Sea and sound waves: Islands of the North Atlantic and the challenges of on-line music collaboration in a new Scottish university. In Audio Engineering Society (Ed.), Audio Engineering Society Conference: 50th International Conference: Audio Education (pp. 1-4). Murfreesboro: Audio Engineering Society. Retrieved June 1, 2015, from http://www.aes.org/e-lib/browse.cfm?elib=16840. http://www.aes.org/e-lib/browse.cfm?elib=16840 James, D., & Stanton, J. (2011). Beyond being (t) here: The social and personal implications of making music at a distance. In ICPS (Ed.), Proceedings of the 2011 iConference: Inspiration, Integrity, and Intrepidy (pp. 686-687). Seattle: ACM. Retrieved June 1, 2015, from http://dl.acm.org/citation.cfm?id=1940870. http://dl.acm.org/citation.cfm?id=1940870 References Part One

11. Learning with Purpose Michielse, M., & Partti, H. (2015). Producing a meaningful difference: The significance of small creative acts in composing within online participatory remix practices [Abstract]. International Journal of Community Music, 8(1), 27-40. Retrieved June 1, 2015, from http://alturl.com/5wy4e. http://alturl.com/5wy4e Ratcliffe, R. (2014). A proposed typology of sampled material within electronic dance music. Dancecult: Journal of Electronic Dance Music Culture, 6(1), 97-122. Retrieved June 1, 2015, from https://dj.dancecult.net/index.php/dancecult/article/viewFile/369/459. https://dj.dancecult.net/index.php/dancecult/article/viewFile/369/459 Scott, J., Prockup, M., Schmidt, E. M., & Kim, Y. E. (2011). Automatic multi-track mixing using linear dynamical systems. In SMC (Ed.), Proceedings of the 8th Sound and Music Computing Conference (pp.1-6). Padova, Italy: SMC. Retrieved June 1, 2015, from http://www.smcnetwork.org/system/files/smc2011_submission_82.pdf. http://www.smcnetwork.org/system/files/smc2011_submission_82.pdf Senior, M. (2011). Listen and learn: Analyzing commercial mixes. Retrieved June 1, 2015, from Sound on Sound: http://www.soundonsound.com/sos/apr11/articles/listen-and-learn.htm.http://www.soundonsound.com/sos/apr11/articles/listen-and-learn.htm Stimeling, T. D., & Katz, M. (2011). Songwriting as musicological inquiry: Examples from the popular music classroom. Journal of Music History Pedagogy, 2(2), 133-52. Retrieved June 2, 2015 from http://ams-net.theams.us/ojs/index.php/jmhp/article/viewFile/52/87. http://ams-net.theams.us/ojs/index.php/jmhp/article/viewFile/52/87 References Part Two

12. Learning with Purpose Suhr, H. (2015). Introduction: Toward an interdisciplinary understanding of online evaluation of creativity and the arts. In H. Suhr (Ed.), Online evaluation of creativity and the arts (pp. 1-6). New York, NY: Routledge. Retrieved June 1, 2015 from http://samples.sainsburysebooks.co.uk/9781317748731_sample_677862.pdf. http://samples.sainsburysebooks.co.uk/9781317748731_sample_677862.pdf Thibeault, M. D. (2012). Wisdom for music education from the recording studio. General Music Today, 25(2), 49-52. Retrieved June 3, 2015, from http://gmt.sagepub.com/content/25/2/49.full.pdf.http://gmt.sagepub.com/content/25/2/49.full.pdf Tobias, E. (2013). Toward convergence adapting music education to contemporary society and participatory culture. Music Educators Journal, 99(4), 29-36. Retrieved June 1, 2015, from http://mej.sagepub.com/content/99/4/29.abstract. http://mej.sagepub.com/content/99/4/29.abstract Ventura, M. (2014). Problem-based learning and e-learning in sound recording. International Journal of Information and Education Technology, 4(5), 426-429. Retrieved June 2, 2015 from http://www.ijiet.org/papers/443-EI0034.pdf. http://www.ijiet.org/papers/443-EI0034.pdf Ziv, N. (2008). An exploration on community-based innovation: Indaba Music as a case in point. In D. Kocaoglu, T. Anderson, & T. Daim (Eds.), Proceedings on Technology Management for a Sustainable Economy: PICMET 2008 - Portland International Conference on Management of Engineering & Technology (pp. 593-602). Cape Town, South Africa: IEEE. Retrieved June 1, 2015, from http://ieeexplore.ieee.org/xpl/mostRecentIssue.jsp?punumber=4591409. http://ieeexplore.ieee.org/xpl/mostRecentIssue.jsp?punumber=4591409 References Part Three