MOOCs, online learning and the disruption of traditional education
Hans T. Zeiner Henriksen, University of Oslo
ABSTRACT: Many large global industries have the last decade experienced major challenges in their way of operating caused by various forms of digitalization. Uber, Instagram, YouTube, iTunes and Spotify are all distributors of products and services that provide easy and inexpensive access to products and services without really producing anything themselves. In higher education business as usual is the general tendency, but the concern of new developments is starting to spread. Coursera, Udacity, edX and many others provide courses of high quality that reaches many students across the globe.
Music production courses are popular and are provided by several of these distributors (ex.: Introduction to Music Production from Berklee at Coursera). The Department of Musicology, in cooperation with the Department of Educational Technology, launched the first self-made MOOC at the University of Oslo via the virtual learning platform at FutureLearn for the first time in Febraury-March this year. It will be launched again in September- October, then in connection with an on-campus Bachelor course. In this presentation the future of traditional education will be discussed on the basis of our experience from producing and running a MOOC.
Hans begins with a description of MOOCs and an overview of providers via Coursera and EDx, focussing on Berklee’s Music Production courses – we see Prince Charles Alexander’s course as an example.
Vintage Instruments and Retro Technology in Popular Music Culture
[abstract] On the cover of the Norwegian electronica duo Röyksopp’s 2009 album Junior, Svein Berge is carrying a Korg SB100 synthesizer from 1975, while his partner Torbjørn Brundtland is holding a vinyl record. At concerts and in interviews regarding their production techniques the duo also emphasizes their use of a 1978 Korg MS synthesizer. Röyksopp exposes and celebrates instruments and a technology that in many ways are outdated – they may use these analogue synthesizers together with samples from old vinyl records, but the digital computer with a sequencer and software instruments is definitely playing a more central role in their productions. The celebration of old technology seems to be important even in music genres where a rather modern sound is being produced. I will discuss this fascination with old technology and ask whether it is stable and lasting, or constantly changing as David Pattie argues concerning the discourses on authenticity in rock culture (Pattie 2007). All types of technology or old instruments are not celebrated in the same manner. Using Wiebe E. Bijker’s theory of sociotechnical change (Bijker 1997), I will investigate processes within genres that lead one instrument or a type of technology into an elevated “vintage” position, and discuss to what extent its position is established once and for all or if it is an area of constant change and modification.
Hans begins with some audio from Parliament’s ‘Do That Stuff’ followed by Røoyksopp’s ‘Happy Up Here’ (see whosampled link);