Innovative Module Delivery Methods In A Creative Music & Sound Technology Teaching Environment

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1 Innovative Module Delivery Methods In A Creative Music & Sound Technology Teaching Environment Dr Paul A Conway, BEng(Hons),PhD,CEng,FIEE,MIEEE Leeds Metropolitan University, School of Engineering SYNOPSIS This paper provides an insight into methods that have been developed to deliver 'nontraditional' technological/engineering modules to students who often have as much (and perhaps sometimes, greater!) interest in the more creative aspects of courses/programmes in these areas. The Author briefly considers curriculum and the relevance of mathematics/analysis within modules such as 'Electronics for Audio,' 'Music Systems & Digital Audio,' 'Music Synthesis,' 'Sound System Design' and 'Audio Engineering Technology' and gives examples of teaching methods and style in the lecture room, assessment methods, practical work and special operational support needs in relation to such areas of curriculum. Also considered are issues associated with low attritian rates, positive student feedback, relevance to potential employment, transferable skills and the needs of business and commerce in the outside world. Key issues are identified and some solutions suggested. 1.0 INTRODUCTION A phrase that perhaps encapsulates the whole rational for this Conference might be 'It's Engineering Jim, but not as we know it!' In reality though, we cannot ignore the fact that in many cases, internationally there has been a decline in the attraction of potential students to engineering courses and whilst the theme of this Conference is related to Student Progression and Retention, there would appear to be some advantage in briefly considering the perception that a potential student has of 'Engineering.' Indeed, such a perception in the mind of some potential students is that Engineering has got something to do with dirty engine oil! Of course Engineering is a broad profession and therefore if one is to successfully recruit, retain and progress potential students in this field, the title of such courses is likely to be much more important in conveying an appropriate (and attractive) flavour than say, Pharmacy or Accountancy, the latter being more well defined professions with little doubt as to the employability and abilities of such graduates. 2.0 CHANGES IN ENGINEERING Whilst most engineering graduates of 15/20 years ago would have aspirations of working in a research and/or design environment, in the field of (for example) electrical/electronic engineering, in more recent times the circuits of yesterday are now the subsystems of today and tomorrow. Furthermore, a very small number of engineering graduates now find employment in

2 research and development. Many graduate interests, needs and employment prospects are in modern systems engineering, applications, operations, maintenance, commissioning, technical operations and systems design. Many such applications today are associated with the creative appraisal and creation of acoustic and visual signals. As an example, the 'traditional' engineer may well turn his/her nose up to a suggestion that one modern perceived graduate role of an engineer might include high level technical operations. But you only have to look at a modern recording studio, master operations room in a broadcast studio or even a modern music synthesiser to realise that flying Concorde may be marginally simpler! It is therefore of no surprise that many students are attracted to 'engineering/technology-type' courses that contain such words as Creative Sound, Music, Audio, Multi-Media, Computing, Radio, Television and Broadcast Technology. Industry as a whole presents a range of views on the constitution of a perceived degree programme that would best meet its needs. The balance of demand therefore is more for broadly educated and flexible engineers and technologists rather than for specialists. Graduates must have a firm grasp of fundamental principles and be able to use them to solve real practical problems; they need the ability to master specialisms as the need arises and to apply this understanding to the solution of real problems. Of course, the engineering profession as a whole still needs hard-core traditional analytical design engineers, but this represents a smaller sector of the total market for engineering/technology graduates. It is not suggested that the 'traditional' engineering market has contracted (although I think it has a little). Rather that the need for high-level professional 'nontraditional' engineers/technologists - including those with artistic/creative abilities - has expanded. In the case of what is still referred to as 'Professional Engineering' in the context of the Chartered Engineer (although this is the subject of much debate in recent times), the Institution of Electrical Engineers as the accrediting body remains, even though its name does not perhaps reflect as readily some of the roles of such professional activities in the areas of (for example) applications of Computer and Digital Data Communication Networks, Radio Frequency & Satellite Systems, Signal Processing, Music, Audio and Media/Broadcast Technology. The use of software to solve engineering problems is also rapidly overtaking some of the more traditional hardware implementations which makes the distinction of courses and modules associated with software applications more difficult to specifically associate with engineering and/or computing (if such a diversion is appropriate any more). Many engineering applications today therefore are associated with sound and images, acoustic and visual effects with engineers/technologists working in environments where the creative ability to appraise such signals is becoming as important as the ability to maintain engineering excellence.

3 3.0 MODULE DELIVERY ISSUES 3.1 What are the questions? In relation to student retention and progression, a whole range of ideas and concepts come to mind in consideration of this. Clearly this is an issue. It is a problem that many universities are now faced with. The use of different terminology in describing course and module titles is not uncommon. However, such terms need defining before appropriate solutions can be suggested. Some of the more common questions are listed below for consideration and are characterised under the classifications of Admissions, Teaching, Assessment and Support. In this short paper, some of the key issues are listed and briefly discussed below: Admissions At the risk of stating the obvious, there needs to be a clear understanding at admissions level with regard to what the criteria of a course is. In a creative technology environment, this is arguably more difficult due to the fact that the more traditional boundaries of curriculum are more difficult to define. In particular, skills/knowledge expectations under the following classifications, and how they are to be measures and assessed need to be clearly understood by the course management and admissions team:- Creative Technological/scientific Numeracy/analytical Teaching What is 'innovative teaching?' Perhaps something that is perceived by a student as being different, novel. What is 'traditional?' Perhaps not interesting (but still important!) Why does some curriculum need 'innovative' teaching? Most curriculum requires innovative teaching if students are to remain engaged. It is conducive to motivation. Perhaps the terms 'novel' and 'unique' have a place here. What is 'interesting?' Maintaining student engagement is one of the most important factors in relation to retention and progression. There is no simple answer to this but efficient delivery and a low level of repetition have a high priority. Some teaching could be innovative but not interesting! Whilst the 'chalk and talk' approach may be appropriate for some modules, others that rely on the senses (sound and vision) would be less well received using this method of delivery.

4 Teaching or training/skills development? In a creative music and sound environment, there is a higher probability of the learning contract (and the expectation of the student) to include an element of training. Such curriculum requires greater emphasis on application techniques and operational methods. In university undergraduate curriculum terms, there is a clear need to reach an appropriate balance. Lecture or hands-on/practical learning sessions? Experience has shown that a lecture has traditionally been an excellent occasion for conveying an understanding of theoretical and knowledge-based curriculum. Common to all types of curriculum is the need to ensure that the student is aware of the aims and objectives of such a formal scheduled teaching session in the context of the whole programme of study. The production of such documents as student handbooks, module specifications and delivery schedules is a necessity. The use of an interactive teaching environment with technological demonstrations has been found to be beneficial in retaining student interest along with the provision of Web-based material. This provides the student with easy access to such information in and out of the university and has the additional advantage of easily providing links to relevant course material with ease of access. Being Web-based provides many other advantages associated with a quality experience Assessment In a creative music and sound technology environment, the aims and objectives of a larger part of the curriculum is associated with the production of an artefact that may require a combination of technological and creative skills. Experience has shown that the production of task-based and synoptic-type assignments are more appropriate for such modules Support and Quality Customer Care (our students) Experience in the delivery of curriculum in this area has shown that students tend to be more assertive in expressing what they expect to be delivered. Whilst we should not offer a 'pick and mix' diet of topics on demand, we should still consider their needs because if we don't, we may end up with a very good course based on our professional judgement but such a course is useless if it does not attract students and does not produce results within expected norms. This is how we are measured - whether we like it or not! Attrician Rates This parameter is a function of the quality and appropriateness of students admitted to the course and the quality of the experience that we give them. Both are addressed within this paper, but we should not forget their importance. Customer Satisfaction (how do we measure?) This is measured directly by the use of student questionnaires in most institutions. We cannot control what the students say and therefore the only resource available is that of providing the student with a quality experience to expected standards.

5 Management With the increasing pressure that all academics are now faced with, there needs to be an effective management process and structure to ensure that staff are given achievable goals. The responsibility of ensuring a quality experience by the students and good student retention and progression figures is one that has to be shared by all. The importance of staff profiling in the context of allocation to duties is therefore extremely high. Staff retention is at least as important as student retention! Technical Support In a creative technological environment, there is very high reliance on technical support in the context of hands-on sessions with highly complex equipment. Technician support (referred to in some institutions now as Learning Officers) needs to be clear and appropriate if such formal scheduled teaching sessions are to be successful. One thing that is clear is that frustration caused by unreliable support in not conducive to the process of retaining students. Furthermore, the increased level of student centred learning found in almost all HE programmes puts an even higher reliance on learning systems support in practical laboratory/studio-type areas. 4.0 CONCLUSION In conclusion therefore, the need for appropriate module delivery methods and support in a creative technological teaching environment are, as expected, highly curriculum dependent and often very different to more traditional engineering education. Such teaching and learning methods usually require a higher level of planning in the lecture room, the laboratory and in terms of student support and puts a high level of importance on an effective operational management strategy and structure. All such issues are vital to the effective control of student retention and progression in Engineering.