A B O U T - E X P E R I M A N C E

Art of Noise

A multi-sensory exploration of how design has changed the way we’ve experienced music over the past 100 years.

(S+) Meinung: Ausländerfeindliche KI-Musik: Rechtsradikale Phrasen, verpackt in geschmackvolle Indie-Tunes

In den Niederlanden drängen rechte KI-Songs auf virale Spotify-Playlists. Doch hinter dem Fall steckt ein viel größeres Problem.

MusicSky

Listen and share the music in the Atmosphere.

The Ascendance of Bay Area Dance Music

The contemporary sound of Bay Area dance music is high-energy, omnivorous, and life-affirming.

Divining an Afrofuturist Music Education – ACT

Published in Action, Criticism, and Theory for Music Education 22 (4): 131–58. [pdf] https://doi.org/10.22176/act22.4.131

Why we should tune into the orchestra of the animal world | Aeon Essays

Listen to the boundless sounds of nature, the great animal orchestra, whose songs imbue the world with fresh meaning

Barcamp und UX Community Treffen | UX Festival 2026 by German UPA

Seit dem 4. Dezember 2025 habt ihr die Möglichkeit, Tickets zu kaufen.

Sound Obsessed — collection

Black Music, White Halls: Toward a Black American Music Curriculum – ACT

Published in Action, Criticism, and Theory for Music Education 25 (1): 52–76 [pdf]. https://doi.org/10.22176/act25.1.52

Open Guitar

OpenGuitar: Technology through Music.

How to be inspired without copying

In 1713, Johann Sebastian Bach sat down at his desk in Weimar and began copying out concertos by Antonio Vivaldi. He transcribed them note for note, in his own hand, working through at least nine of the L'estro armonico concertos like a medical student dissecting a cadaver. The work was

Rethinking the Large Ensemble Paradigm: Moving Toward Epistemic Justice

In this paper, I center the epistemic dimensions of musics and musicking to consider the ways in which the band/orchestra/choir paradigm of music education prevalent in the U.S. and Canada may be implicated in epistemic injustice. Drawing in particular on the work of Fricker (Epistemic injustice: power and the ethics of knowing, Oxford University Press, New York, 2007), Dotson (Hypatia 26(2):236–257, 2011), and The Routledge Handbook of Epistemic Injustice (Kidd et al., The Routledge handbook of epistemic injustice, Routledge, New York, 2017), I explore facets of epistemic injustice and apply these ideas to music education school contexts in Canada and the U.S. I further explore aspects of school music that may amount to “testimonial smothering” (Dotson 2011) and “cognitive imperialism” (Battiste in Can J Native Educ 22:16–27, 1998). Ultimately, building on existing literature on epistemic justice (Kidd et al. 2017; Fricker 2007), I theorize an epistemically just music education for school music in alignment with culturally responsive, anti-racist, and anti-colonial teaching.

A dispatch from the dawn of the electronic music age | Aeon Videos

These days, synthesised sound is easy to access – but early electronic music pioneers had to get hands on to produce it