Percussion workshop with Ken Lagaré
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.
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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.
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
The Audio Recording Engineer Practicum of the Banff Centre mentored by James ClemensSeely hosts up to nine international participants to refine their technical and artistic skills in residencies from
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
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
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
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.
University of Lethbridge students Toby Bol, Kierian Turner, and Leonard Menon play short video montages that they edited from the video data that was collected by Amandine Pras and Emmanuelle Olivier
Adam Patrick Bell designed a methodology to compare production process across studios and countries.
Emmanuelle Olivier underlines how the ethnomusicology of recording studios can teach us about musical creation, work sociology, and cultural mediations.
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