Learning Through Noise [electronic resource] / by Peter J. Woods.
Erişim Adresi
ISBN
9783032110190
Dil Kodu
İngilizce
Yer Numarası
EK/4016
Yazar
Basım Bildirimi
1st ed. 2025.
Yayın Bilgisi
Cham : Springer Nature Switzerland : Imprint: Palgrave Macmillan, 2025.
Fiziksel Niteleme
XI, 272 p. 1 illus. online resource.
İçindekiler Notu
Chapter 1: Introduction -- Section 1 : Embracing Noise as an Educational Technology -- Chapter 2 : Reclaiming Abject Sonics -- Chapter 3 : The Abject Pedagogies of Noise -- Chapter 4: When Objects Think Back -- Chapter 5: Noise Music’s More Than Human Community of Practice -- Section 3 : Noise Music in Context -- Chapter 6: Critiquing White Noise -- Chapter 7 : Towards a Non-White Listening of Noise Music -- Chapter 8 : A Final Note.
Özet, vb.
This book argues that the formation of noise music as a distinctive musical genre (and noise music scenes as distinct musical subcultures) relies on the production of unique learning ecologies and vice versa. Noise music does not exist as a musical form that one learns to reproduce, create within, or appreciate in defined educational contexts (i.e. classrooms) separate from where this music lives (venues, recording studios, practice spaces, etc.). Instead, making and listening to noise music in itself represents the primary method of learning about and within the genre. Because the processes of making, listening to, and learning within noise music are deeply intertwined, the book contends that understanding noise music inherently requires understanding the unique and situated learning processes of the genre. Peter J. Woods is an assistant professor in learning sciences at the University of Nottingham. Through his research, he explores what and how people learn through creative production in both formal and informal learning settings. In particular, he investigates how cultural contexts (ranging from noise music scenes to math classrooms) and situated technologies both produce and restrict different types of curricula, pedagogies, and knowledge. Previous publications on noise music can be found in Culture, Theory, and Critique; Teachers College Record; Critical Studies in Improvisation and more. He also teaches numerous courses on learning theory and educational technology. .
Konu
Music __ History and criticism.
Music.
Science __ Social aspects.
Contemporary Music.
Music.
Sound Studies.
Music.
Science __ Social aspects.
Contemporary Music.
Music.
Sound Studies.
Kurum Adı
Eseri Alıntıla
Referansları kullanmadan önce gözden geçirmeniz ve varsa gerekli düzeltmeleri yapmanız önerilir.
Dijital Kaynak
MARC Görünümü
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505 0 |aChapter 1: Introduction -- Section 1 : Embracing Noise as an Educational Technology -- Chapter 2 : Reclaiming Abject Sonics -- Chapter 3 : The Abject Pedagogies of Noise -- Chapter 4: When Objects Think Back -- Chapter 5: Noise Music’s More Than Human Community of Practice -- Section 3 : Noise Music in Context -- Chapter 6: Critiquing White Noise -- Chapter 7 : Towards a Non-White Listening of Noise Music -- Chapter 8 : A Final Note.
520 |aThis book argues that the formation of noise music as a distinctive musical genre (and noise music scenes as distinct musical subcultures) relies on the production of unique learning ecologies and vice versa. Noise music does not exist as a musical form that one learns to reproduce, create within, or appreciate in defined educational contexts (i.e. classrooms) separate from where this music lives (venues, recording studios, practice spaces, etc.). Instead, making and listening to noise music in itself represents the primary method of learning about and within the genre. Because the processes of making, listening to, and learning within noise music are deeply intertwined, the book contends that understanding noise music inherently requires understanding the unique and situated learning processes of the genre. Peter J. Woods is an assistant professor in learning sciences at the University of Nottingham. Through his research, he explores what and how people learn through creative production in both formal and informal learning settings. In particular, he investigates how cultural contexts (ranging from noise music scenes to math classrooms) and situated technologies both produce and restrict different types of curricula, pedagogies, and knowledge. Previous publications on noise music can be found in Culture, Theory, and Critique; Teachers College Record; Critical Studies in Improvisation and more. He also teaches numerous courses on learning theory and educational technology. .
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532 8 |aNo reading system accessibility options actively disabled
532 8 |aPublisher contact for further accessibility information: accessibilitysupport@springernature.com
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650 0|aMusic.
650 0|aScience|xSocial aspects.
650 14|aContemporary Music.
650 24|aMusic.
650 24|aSound Studies.
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100 1 |aWoods, Peter J.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
245 10|aLearning Through Noise|h[electronic resource] /|cby Peter J. Woods.
250 |a1st ed. 2025.
264 1|aCham :|bSpringer Nature Switzerland :|bImprint: Palgrave Macmillan,|c2025.
300 |aXI, 272 p. 1 illus.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
341 0 |bPDF/UA-1|2onix
341 0 |bTable of contents navigation|2onix
341 0 |bSingle logical reading order|2onix
341 0 |bShort alternative textual descriptions|2onix
341 0 |bUse of color is not sole means of conveying information|2onix
341 0 |bUse of high contrast between text and background color|2onix
341 0 |bNext / Previous structural navigation|2onix
341 0 |bAll non-decorative content supports reading without sight|2onix
347 |atext file|bPDF|2rda
505 0 |aChapter 1: Introduction -- Section 1 : Embracing Noise as an Educational Technology -- Chapter 2 : Reclaiming Abject Sonics -- Chapter 3 : The Abject Pedagogies of Noise -- Chapter 4: When Objects Think Back -- Chapter 5: Noise Music’s More Than Human Community of Practice -- Section 3 : Noise Music in Context -- Chapter 6: Critiquing White Noise -- Chapter 7 : Towards a Non-White Listening of Noise Music -- Chapter 8 : A Final Note.
520 |aThis book argues that the formation of noise music as a distinctive musical genre (and noise music scenes as distinct musical subcultures) relies on the production of unique learning ecologies and vice versa. Noise music does not exist as a musical form that one learns to reproduce, create within, or appreciate in defined educational contexts (i.e. classrooms) separate from where this music lives (venues, recording studios, practice spaces, etc.). Instead, making and listening to noise music in itself represents the primary method of learning about and within the genre. Because the processes of making, listening to, and learning within noise music are deeply intertwined, the book contends that understanding noise music inherently requires understanding the unique and situated learning processes of the genre. Peter J. Woods is an assistant professor in learning sciences at the University of Nottingham. Through his research, he explores what and how people learn through creative production in both formal and informal learning settings. In particular, he investigates how cultural contexts (ranging from noise music scenes to math classrooms) and situated technologies both produce and restrict different types of curricula, pedagogies, and knowledge. Previous publications on noise music can be found in Culture, Theory, and Critique; Teachers College Record; Critical Studies in Improvisation and more. He also teaches numerous courses on learning theory and educational technology. .
532 8 |aAccessibility summary: This PDF has been created in accordance with the PDF/UA-1 standard to enhance accessibility, including screen reader support, described non-text content (images, graphs), bookmarks for easy navigation, keyboard-friendly links and forms and searchable, selectable text. We recognize the importance of accessibility, and we welcome queries about accessibility for any of our products. If you have a question or an access need, please get in touch with us at accessibilitysupport@springernature.com. Please note that a more accessible version of this eBook is available as ePub.
532 8 |aNo reading system accessibility options actively disabled
532 8 |aPublisher contact for further accessibility information: accessibilitysupport@springernature.com
650 0|aMusic|xHistory and criticism.
650 0|aMusic.
650 0|aScience|xSocial aspects.
650 14|aContemporary Music.
650 24|aMusic.
650 24|aSound Studies.
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783032110183
776 08|iPrinted edition:|z9783032110206
776 08|iPrinted edition:|z9783032110213
856 40|uhttps://doi.org/10.1007/978-3-032-11019-0
912 |aZDB-2-LCM
912 |aZDB-2-SXL
950 |aLiterature, Cultural and Media Studies (SpringerNature-41173)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)
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