As musical knowledge is increasingly programmed into the music software, there has been a shift in what is considered relevant knowledge and creativity, and what is ‘outsourced’ to the technology. For example, institutions providing higher music education have traditionally

functioned as gatekeepers to what constitutes musical knowledge and creativity. Today,

software designers are to an increasing degree inhabiting this role. DIY strategies and online

resources enable music students to become experts in particular technologies or genres prior to entering higher education, but also fragments the entry-level competences of students.

CreaTeME seeks to empower students to share their expertise as part of the collaborative

learning in which all students at DPM are engaged, and functions as a door-opener rather than a gatekeeper.

WP1 responds to these changes by establishing and developing new teaching methods

and pedagogical structures. These structures need to remain flexible and dynamic whilst

providing the necessary craftsmanship for the students to meet the ever-changing requirements of the artistic labour market.

The WP-team consists of:

Eirik Sørbø // Leader

Hilde Norbakken

Eirik Askerøi

Work Package 2 engages with new and emerging technological trends, creatively and pedagogically. New technology provides unexplored possibilities and promotes new creative practices driven by these technologies. For example, artificial intelligence (AI) based on machine learning and neural networks is now able to improvise and compose music, and researchers and artists explore ways to perform and compose music deploying AI as a collaborator.

Emerging technologies provide composers and producers with new possibilities for composition and arrangements within immersive 3D audio formats. This again is transferrable to the exploration of work in mixed realities such as Virtual Reality (VR) and augmented reality (AR), where headsets with advanced audio-visual features and headtracking are becoming mainstream consumer technology. Likewise, advanced software, electronic components and 3D printing technologies provide musicians with new possibilities of creative practice where the interaction with an electronic software instrument can also be through a non-traditional interface created by the musician themself.

This WP provides interdisciplinary opportunities within both knowledge creation, artistic research and entrepreneurship.

The WP-team consists of:

Ivar Grydeland // Leader

Alessandra Bossa

Lars Kristian Lia

Egil Kalman

Whereas WP2 looks at technology as an independent instrument and medium in making music, the focus in WP3 is on working with artists and musicians using ‘traditional’ instruments (such as violin, electric guitar, or drums): how technology is used as part of their musicianship, both as an integrated part of their artistic practices, and as a tool for training and collaborations. Technology further holds the potential to bridge the gap between music making and performance29, and to merge various forms of musicianship.

This WP explores technological solutions that promote creativity and collaboration in music making and performance, and connects music students across musical genres, institutions and nations. The theoretical framework evolves around informal learning strategies in formal popular music education and creativity theory in higher music education.

The WP-team consists of:

Torun Berg Eriksen // Leader

Ingvild Koksvik

Jonas Sjøvaag

WP4 follows two related approaches responding to digital change and both suggesting the need to adjust music education in accordance with (1) changes in business models, markets and value-chains, and (2) new and more complex competences required by musicians and artists. A significant feature following digitalization of the music industries is the transformation towards a more artist-centred economy34 in which specialized tasks, previously handled by professional intermediaries, are now handled by the artist themself.

This WP mainly responds to how technology changes the work market (CH3), both in terms of where income is generated and who receives it, who the stakeholders are and how power is distributed, and how marketing and branding are performed. The digital music market is volatile and complex, requiring flexibility and agility from its stakeholders. Participants in these shifting markets need artistic skills, an entrepreneurial mindset as well as artistic skills and the ability to adapt to new trends, as also recognized in general Norwegian education policy.

The WP-team consists of:

Ragnhild Brøvig // Leader

Andy Inglis

Anna Willrodth

Daniel Nordgård

Technology challenges societal and political structures (for example by enabling and

amplifying research abuse and support for conspiracy theories) and traditionally contributes to maintaining gender imbalance and lack of diversity in music education40. However, technology also enables access and critical responsibility in education. Addressing technology in responsible music education thus both implies awareness of critical dimensions and opportunities to address responsible education through technology.

WP5 addresses the institutional responsibility of universities to educate engaged and

responsible citizens43, and to actively work to recruit under-represented groups into music

education. It includes perspectives from music and health, community music, and socially engaged artistic practices.

WP5 seeks to recruit a demographically more representative student body, develop content and models for how music education can foster inclusion and societal responsibility, and exploring how students can contribute to an inclusive and responsible field of practice when completing their education as music professionals.

The WP-team consists of:

Hege Merete Bjørnestøl Beckmann // Leader

Tormod Wallem Anundsen // Leader

Gunn-Hilde Erstad Haugen