AFRINUM

Issa Traoré alias Ken Lagaré taught pentatonic harmonies and basic popular music arrangements to Digital Audio Arts students at the University of Lethbridge. He demonstrated how to create a reggae and

Séance consacrée à la diffusion de la musique en régime numérique, avec les interventions de : • Julien Dayan, Label Manager, Syllart Records : Syllart Records, une entreprise de production et de

Issa Traoré alias Ken Lagaré taught Malian rhythms on the jembe and dundun to students and faculty of the Department of Music at the University of Lethbridge.

Eliot Bates presents research outcomes from his work as an audio engineer and as an ethnomusocologist in Istanbul studios. Further information about this work can be found in his book titled, Digital

Éliézer Oubda presents the video making off of Bob Markey's One Love cover that he produced in his Hope Muziks Studio in Ouagadougou with local musicians, and singers and rappers from different

Dr. Eliot Bates (Graduate Centre, City University of New York), and  Éliézer Oubda (Hope Muziks Studio, Burkina Faso) share their experiences working and teaching within and around the confines of the

Dr. Paul Thompson (Leeds-Beckett University, UK) and James Clemens-Seely (Banff Centre, Alberta) explore differing viewpoints on the benefits and limitations of using ‘Technical Ear Training’ (TET)

James Clemens-Seely presents a practical introduction to the merits and pitfalls of technical ear training as an approach to increasing critical listening and analytic skills in developing audio

Amandine Pras introduces AFRINUM and the West African Audio Network partnerships. Paul Thompson characterizes three broad forms of learning methods in audio engineering and music production, namely

In this panel, we highlight how the templates within DAWs shape the digital practices of West African studio professionals who have had limited exposure to the culture of analog recording and

Issa Traoré also known as Ken Lagare introduces this round table with a presentation of the evolution of his studio setup since he started engineering music productions in Bamako in 2008.

The recording studio represents a creative workplace with audio technology that deserves more attention from the Social Sciences and Humanities. Since the beginning of the 21st century, the