UNews - Digital Audio Arts

Archaeology podcast geared at educating public earns Dr. Ken Holyoke and on-air partner national award

trevor.kenney — Mon, 22 Jul 2024 15:49:21 +0000

Dr. Ken Holyoke will be the first to tell you how much he loves to talk — especially about archaeology — and that enthusiasm has been recognized with a national award.

Dr. Ken Holyoke in his home studio.

Holyoke, an assistant professor in the ��Ѹ��Դ��߿�Ƭ of Lethbridge’s Department of Geography and Environment, and his on-air partner Dr. Gabriel Hrynick of the ��Ѹ��Դ��߿�Ƭ of New Brunswick, have been awarded the 2024 Public Communications Award from the Canadian Archaeological Association for their unique collaboration — the New Brunswick Archaeology Podcast (NBAP).

The award comes as the duo are putting a wrap on their second season of NBAP, and further validates the concept that led them to create the podcast in the first place — that the general public has an appetite for history. Through their work they are addressing gaps in public education relating to archaeology, archaeological scholarship, heritage legislation, cultural resource management (CRM) and Indigenous pasts.

“We were fully anticipating if we could reach 10 people, that’d be 10 more than we did before,” laughs Holyoke. “We sort of make fun of ourselves in saying that the reach of the podcast in the first season alone far exceeded the impact of any of our academic papers.”

Holyoke, left, and Dr. Gabriel Hrynick have found there is an appetite in the public for the issues they discuss.

Holyoke encourages newcomers to NBAP to forego the pilot podcast where he admits the two were nervous, meandering and lacking proper production elements, such as good audio. They’ve grown in confidence since and now present a polished, informative and focused show. The production value is also greatly enhanced thanks to the work of ULethbridge Digital Audio Arts student Emanuel Akel. He was brought on board thanks to a ULethbridge SSHRC Exchange grant the duo received that allowed them to enhance their product while giving an undergraduate student an outstanding work-integrated learning opportunity.

The podcast is centred in New Brunswick because Holyoke does the majority of his work there, he’s a born and raised New Brunswicker, and he recognized a dearth of well-established public archeology mechanisms. He and Hrynick explain in a recently published article about their podcast that archaeology is at a crucial moment for public engagement.

“Pressing societal needs and legal decisions, including Indigenous land claims, increasingly draw on archaeological information,” they write. “At the same time, threats to the archaeological record from climate change and development are increasing. In response to these concerns, public archaeology is increasingly necessary as it brings archaeological research to the general public.”

More live shows, like this one at a local pub in New Brunswick, could be in the offing in season three of the podcast.

Holyoke and Hrynick even presented a live podcast in a New Brunswick tavern during season two and are already imagining where season three might take them. As they approach a landmark 10,000th download, they’re just above 8,300 now, they’re keen to show their new media approach and open-access format can be applicable in other regions of the country.

“Based on the feedback to the podcast via our email address, social media engagements and attendance at a recent live recording, there is considerable public interest in archaeology,” they note.

Holyoke describes running into random people who have mentioned they tune into their show, a student group from St. Mary’s ��Ѹ��Դ��߿�Ƭ in Halifax that plays it in their lab, and a crew of archaeological consultants in northern B.C who listen in while on the job.

“There are a bunch of people we’d like to interview for season three and we’re looking at focusing broadly on the theme of human-environment interactions,” he says. “It’s great, it’s turned into something we really enjoy doing and we want it to continue to grow, in part because there’s quite a bit of effort that goes into it now and we’d like to be able to reach more people.”

The podcast is hosted through RSS.com, which facilitates posting the podcasts to services such as Spotify or Apple. The full show lineup is available on Spotify here.

Digital Audio Arts student receives boost in funding for two research projects

trevor.kenney — Fri, 24 Apr 2020 19:32:22 +0000

Thanks to a boost in research funding, Digital Audio Arts (DAA) student Leonard Menon will combine his personal and scholarly passions, taking on two major research projects that will enhance his academic credentials and support the community through the development of an educational program for young music producers and artists.

The future is bright for Digital Audio Arts student Leonard Menon. PHOTO by Madison Johnson

This spring, Menon was selected for two academic awards, the 2020 Joyce and Ron Sakamoto Prize for Research and Development in DAA and the 2020 Chinook Summer Research Award, funding two separate, yet related, research initiatives.

“The goal of the (Sakamoto Prize) project is to spread the knowledge that I have obtained through conventions, research partnerships, the community and my personal life, and to amalgamate it into one cohesive program that is geared towards artist-producers,” explains Menon. The project is inspired by the research assistantship Menon is involved in, now funded by the Chinook Summer Research Award.

Menon will participate in a four month intensive research experience under the supervision of DAA faculty member Dr. Amandine Pras, supporting her SSHRC Insight Development Grant funded project, Practices and social aspects of the 21st recording studio. Throughout the summer, Menon will take part in hands-on research and receive one-on-one mentorship in writing academic papers to submit for presentation at the annual Audio Engineering Society (AES) conference in October. He will be participating in the online AES Europe convention in June and will have the opportunity to co-author an article to submit to Journal of the Association for Information Science and Technology by the end of the summer.

“I’ve been assisting Dr. Pras on her ongoing research that explores the varying mixing techniques among successful West African producers,” says Menon. “My tasks include continuing the extensive video indexing that is needed to draw stable conclusions, as well as to complete a literature review that will enhance my digital audio understanding.”

Menon has been assisting Pras since last fall, hired to index and edit video data collected in Bamako recording studios, then taking on more demanding tasks, including conducting multidisciplinary collective analyses, designing a comparative approach, and reading and writing for a peer-reviewed journal paper submission. He presented his initial findings during the Social Distinction in the 21^st Recording Studio Symposium hosted at uLethbridge this spring, participating in the roundtable titled, Digital Ethnography of Recording Studios in Bamako (Mali).

“The research program requires strong inter-personal and communication skills to interact with other researchers at the ��Ѹ��Դ��߿�Ƭ of Calgary, the Banff Centre and the School for Advanced Research in the Social Sciences (EHESS) in Paris, as well as rigor and persistence to complete intellectually challenging tasks,” says Pras. “I have consistently observed all these qualities in Leonard’s personality and work ethic.”

Pras’ research examines how upcoming generations use the recording studio from anthropological, music education and audio engineering perspectives. Studying how artists and producers with little to no formal training were developing new and exciting techniques has inspired Menon to take on a second research project, funded by his second award, the Sakamoto Prize for Research and Development in DAA.

“It has been fascinating to learn how these producers work with little to no formal training in the harsh political conditions of their country,” continues Menon. “I realized that they have used a variety of informal learning methods to learn how to arrange and mix in a digital audio workstation at a professional standard that is recognized by the rest of the world, a true milestone considering the scarce educational resources available to them.”

Menon's research is shedding light on how some individuals manage to produce and create with little or no professional training, using intuition and logic to manipulate the programs. He’s hoping to take what he learns and develop a curriculum to be taught to youth at Drop’n Beats, a local youth music program designed to build community through music creation and education.

Thanks to the support of Joyce and Ron Sakamoto, Menon has the next year to research and develop the program. The data gathered will be disseminated to the AES student chapter in a workshop in early 2021, and the results and footage of working with community members will be presented at the DAA Student Symposium in 2021.

The Joyce and Ron Sakamoto Prize for Research and Development in DAA is an annual research award presented to a student, or team of students, to acknowledge and foster research excellence in Digital Audio Arts at the ��Ѹ��Դ��߿�Ƭ of Lethbridge. Recipients of the prize receive $5,000 for research-related expenses.

U of L symposium to focus on digital audio arts and music sociology

caroline.zentner — Wed, 12 Feb 2020 17:10:59 +0000

Audio engineers and researchers from around the world will gather at the ��Ѹ��Դ��߿�Ƭ of Lethbridge on Friday, Feb. 14 for a one-day symposium titled Social Distinction in the 21st Recording Studio.

Organized by Drs. Amandine Pras, a professor of digital audio arts, and Athena Elafros, a professor of sociology, the symposium features hip-hop and electronic music experts, sound engineers, sociologists and ethnomusicologists from Alberta, Bamako (Mali), Paris, New York, Montréal and Toronto talking about upcoming generations of studio arrangers and recording producers.

“We organized this symposium to bring different people we’ve been working with together to exchange ideas,” says Pras.

One of the roundtables during the symposium centres on the two professors’ collaborative research, which examines social discrimination in the recording studio.

“Initial results show that for women and individuals who identify as transgender or nonbinary, the experience of discrimination and microaggressions are very high,” says Elafros.

Another session will centre on research Pras is involved in as part of an international team of 18 researchers. Looking at culture mediation and youth in West Africa, the project focuses on music production and how young generations manage traditions with globalization.

“West African societies are managed by elders,” says Pras. “Digital technology is a way for youth to cut through the hierarchy of their society. It’s really challenging the structure of the society.”

U of L students have been involved in both research projects and have helped analyze the data.

MusiCounts Scholarship provides music student with week-long mentorship program

trevor.kenney — Thu, 05 Sep 2019 19:49:02 +0000

Digital Audio Arts (DAA) student Kierian Turner will kick-start his career in the music industry this fall when he joins five other senior post-secondary music students for a week-long mentorship program in Toronto, ON, after being named a recipient of the 2019 MusiCounts Scholarship.

Presented by the RBC Foundation’s Emerging Artists Project, Turner was nominated for the scholarship by Drs. Arlan Schultz, Amandine Pras and D. Andrew Stewart, all DAA faculty members.

Digital Audio Arts (DAA) student Kierian Turner will kick-start his career in the music industry after being named a recipient of the 2019 MusiCounts Scholarship.

“Kierian’s very high GPA, multidisciplinary achievements and leadership experience make him the ideal candidate for this significant scholarship program,” says Pras. “I have had the pleasure of observing Kierian in many different roles – a student, a researcher, a collaborator, and a leader. I appreciate his dedication, communication and interpersonal skills, and his efficiency in organizing and promoting events. The MusiCounts Scholarship will offer a highly valuable opportunity as he continues his education and pursues a career in the music industry.”

The MusiCounts Scholarship was launched in 2018 and is awarded annually to up to six senior post-secondary “high-potential” music students to help launch their careers through a $4,000 financial contribution and a week-long intensive mentorship program. From September 30 through October 4, Turner will have the opportunity to network with students and industry professionals including Marianas Trench guitarist, Matt Webb; Nathan Wiszniak, Head of Canada Artist and Label Marketing for Spotify; Anne Strik, Artist and Label Manager for Spotify; Margaret McGuffin, Executive Director of the Canadian Music Publishers Association; and more.

“I’m hoping I can make some lifelong connections who I can collaborate with in the future, both through the cohort of students and industry professionals,” says Turner. “Since I am graduating next spring, I would like to start exploring opportunities available to me after graduation. I hope this program will give me confidence in my ability to get out there and pursue a full-time career in music.”

From the beginning of Turner’s student experience, he has excelled at every project he’s tackled, inside the classroom and out. From planning small concerts, to taking on the Jamboree and Events Coordinator position for Fresh Fest, a two-day music festival, managing a student-run record label and taking on the role of student representative for the Students’ Union and the Department of Music, Turner has embraced each opportunity to get involved and build his resume.

Inside the classroom, Turner has taken on substantial research projects including the Joyce & Ron Sakamoto Prize for Research and Development in DAA funded research, and the creation of an augmented drum kit along with classmate Carter Potts (supervised by Stewart). He also presented a paper on binaural spatialization in relation to hip-hop music at the Exploring Sound DAA Student Symposium in March 2019. The paper, Is Binaural Spatialization the Future of Hip-Hop, was co-authored by Pras and has been accepted for presentation at the 2019 Audio Engineering Society (AES) Conference in New York in October.

With a jam-packed CV and one year of study to go, Turner is looking forward to narrowing his career aspirations and finding his fit in the industry. His current goal is to work as an artist manager or agent, getting involved in the business side of the music industry. His varied skill set will enable Turner to offer clients a complete package by assisting in the creative, recording and production processes while also understanding the legal side of contracts, financial management and business law.

“I know that I have a lot to learn about the industry and this mentorship week will serve as a major step in the learning process,” continues Turner. “I believe it is important to collaborate with, get feedback from, and learn from industry professionals, and also from peers. The financial award will allow me to pursue professional development opportunities in the music industry and contribute to my further education such as a second bachelor's degree in management, or an M.B.A.”

Chambers-Moranz buoyed by support from Sakamoto Research Prize and Chinook Summer Research Award

trevor.kenney — Thu, 13 Jun 2019 20:50:01 +0000

A solo musician, supporting guitar and banjo player for Leeroy Stagger, and former front-man of Sophomore Jakes, Ryland Chambers-Moranz is no stranger to a recording studio. At the end of May he hit the road for the first of his summer tour dates, supporting Leeroy Stagger at 17 shows across BC, Alberta and Saskatchewan. When he returns, he’ll start a different kind of musical tour visiting recording studios across Alberta to continue his applied research in digital audio arts.

Ryland Chambers-Moranz and Dr. Amandine Pras.

“As a touring musician I spend most of my time trying to get better at what I do by rehearsing and playing, but it also comes in expanding my horizons and seeking a greater understanding of things I’m not immersed in,” says Chambers-Moranz. “I’d made a few records in my first ten or so years in the music scene and realized I wanted to go deeper into becoming an audio engineer and it would be a great career for me that would accompany my touring life and provide opportunity to work when I wasn’t on the road.”

Entering the Bachelor of Music – Digital Audio Arts (DAA) program at the ��Ѹ��Դ��߿�Ƭ of Lethbridge, Chambers-Moranz began studying and researching alongside Dr. Amandine Pras, looking at the practices of the 21^st century recording studio, analyzing the differences and preferences of analog versus digital technologies. With the hopes of expanding on an applied research project, Chambers-Moranz applied for and successfully received two prestigious undergraduate research grants: the 2019 Joyce & Ron Sakamoto Research Prize in DAA, and the Chinook Summer Research Award from the Office of Research and Innovation Services.

“The focus of this research will be to expand an experiment on the topic of mixing practices and perception,” explains Chambers-Moranz. “In particular, whether or not there is evidence of any perceptual differences between analog and digital summing of the same mix, and if so, what are they, and is there a correlation between preference and genre?”

Audio production practitioners continue to debate the superiority of analog versus digital technologies, often influenced by preferred musical genre, cultural background, personal taste, age and nostalgia. This study will serve to develop further understanding of these differences, provide insight into the advancements of digital audio technology and will show to what extent analog technology can remain relevant in an increasingly digital world.

“The project will also aid in the distinction between preferred musical genre and production approach,” continues Chambers-Moranz. “If a correlation is found between musical style and production method, it will allow producers and engineers to choose the best mixing format.”

The grant funding provides the opportunity to expand the reach of the study beyond the uLethbridge campus in both mixing capability and in the capacity to draw from a larger sample population. The initial study was completed in uLethbridge’s Studio 1 using the SSL Duality to create mixes, and trained listening participants were drawn from the student body.

“The new funding provides access to vintage analog gear from the Banff Centre and the National Music Centre in Calgary,” says Chambers-Moranz. “I'll also be able to reach a larger demographic of mixing engineers worldwide through my own contacts and through those of my colleagues.”

Working as a research assistant on Dr. Pras’s Social Sciences and Humanities Research Council funded study, “Practices and social aspects of the 21^st recording studio,” Chambers-Moranz’s research closely aligns with her own study, building on existing research in the academic community. Pras’s international study investigates how upcoming generations practice the recording studio from anthropological, music aesthetics, music education and sound engineering perspectives.

“My research expands on Paul Alkhallaf’s Master thesis, supervised by Dr. Pras at the Paris Conservatoire, on the perception of analog and digital summing by looking more deeply at analog versus digital mixing practices and perception. It also enhances her exploration of the development of the modern recording studio in the advent of the digital age and the huge surge of home recording studios,” explains Chambers-Moranz. “As the analog and digital question is one touted one way or another by the engineering community there's a lot to unpack in regards to engineer preference and what is becoming our societal norm.”

Throughout the project Dr. Pras will work closely with Chambers-Moranz as a supervisor and colleague.

“During the research project I will fully supervise the replication process as it takes two people and it involves many technical and methodological challenges,” says Pras. She’ll also connect him to industry experts, head engineers and studio technicians in Western Canada and beyond. Pras’s research also looks at cultural mixing practices around the world. Tagging onto the work Pras is already immersed in, the participants involved can be drawn from an international sample providing beneficial contributions to both Pras’ and Chambers-Moranz’s research.

“Coming to the U of L was an easy choice,” says Chambers-Moranz in closing. “It’s a great school with a world class studio, which also offers a broad musical experience, which is just what I was looking for. Ultimately my hope was that working in music in my real life while attending school would join the two in one symbiotic learning experience. I can confidently say that the simultaneous learning on the job, coupled with institutional learning greatly benefit one another.”

The Chinook Summer Research Award will support Chambers-Moranz work until the end of August, and the Joyce & Ron Sakamoto Prize for Research & Development in DAA will continue to support the project until its completion in April 2020. Chambers-Moranz will present the data and findings at the symposium “Social Distinction of the 21^st recording studio” with Dr. Pras and Athena Elafros (Sociology) February 14, 2020 as part of Celebrating Connection: A SSHRC Exchange Series.

In the meantime, follow Chambers-Moranz on tour by visiting leeroystagger.com/tour. For more information about the Digital Audio Arts program visit: ulethbridge.ca/future-student

DAA Students learn from JUNO award-winning Mastering Engineer Graemme Brown

trevor.kenney — Wed, 20 Mar 2019 22:12:16 +0000

Digital Audio Arts (DAA) students and members of the Audio Engineering Society (AES) student chapter had a recent opportunity to hear from and work one-on-one with JUNO award-winning mastering engineer Graemme Brown. Owner of Zen Mastering studio in Gabriola, B.C., Brown works with Canadian and international musicians, engineering a range of musical genres and audio formats with a strong expertise in mastering jazz and acoustic music.

Master engineer Graemme Brown, left, with Digital Audio Arts student Martin Suarez Tamayo.

“Graemme Brown provided an amazing experience that I didn’t expect to receive in my undergraduate degree,” says Carter Potts, DAA student and AES member. “His knowledge of the intricacies of music mastering, and his experience with the business aspects of the music industry are invaluable. He gave me expert feedback on how to further improve my work in order to be successful when I graduate from the Digital Audio Arts program.”

DAA faculty member, Dr. Amandine Pras, first met Brown at the Banff Centre in 2007, attending one of his master classes and then working with him to master the SACD Where is Pannonica? (Songlines, 2009) she produced in stereo and surround 5.0. She knew his experience and insight would be valuable and inspiring for students.

“Graeme presented to 27 students during his first session, discussing the business aspects and communication requirements of the profession of mastering engineer,” says Pras. “Another 18 students joined us for a second session where he went deeper into mastering techniques.”

Students also had the opportunity, through the AES, to meet one-on-one with Brown and work on mastering their own piece.

“The mastering sessions were fantastic,” says Nate Thomas-Wall, DAA student and AES member. “To be able to not only have my work mastered by someone with his experience, but to learn about mastering from him at the same time, was an opportunity that doesn't come around often. The man knows his stuff, and to listen to him talk about it is a privilege.”

Classmate Ryland Moranz agrees.

“To have an industry professional take part in theoretical classes as well as practical sessions expanding on important aspects of audio engineering was a rare opportunity,” says Moranz. “The one-on-one time provided in the mastering sessions was particularly illuminating and inspiring as the art of mastering is one properly commanded by a skilled few.”

Another experiential learning opportunity is coming up at the end of the month, where DAA students will participate in an all-day symposium, Exploring Sound, in the ��Ѹ��Դ��߿�Ƭ Recital Hall. Students will present on topics ranging from audio spatialization to video games. Dr. Adam Patrick Bell from Music Education at the ��Ѹ��Դ��߿�Ƭ of Calgary will present a keynote entitled Music Technology, Design and Disability.

Herperger using Sakamoto research prize to design and produce analog oscillator

trevor.kenney — Thu, 13 Jul 2017 20:16:32 +0000

Keegan Herperger plans to design an analog oscillator with functional eurorack modules and enough tweaks that it constitutes an original design, now that he has received the 2017 Joyce and Ron Sakamoto Prize for Research in Digital Audio Arts.

The prize is awarded to a second or third-year Bachelor of Music, Digital Audio Arts (DAA) student or a team of students working within a collaborative framework.

“An oscillator is essentially what generates the sound in a synthesizer, and analog just means that they won't use any computer programming,” explains Herperger. “Eurorack is a standard format for modular synth gear, with specific requirements on how the circuit should operate in order to properly interface with other eurorack modules. What I build will be up to code and ready to integrate into a modern commercial synthesizer system.”

Herperger gets to follow through with his ambitious goals thanks to the generosity of Joyce and Ron Sakamoto and their annual research prize. The prize is awarded to a second or third-year Bachelor of Music, Digital Audio Arts (DAA) student or a team of students working within a collaborative framework and being led by a B.Mus DAA student. The award provides $5,000 in research funding.

“Since the nature of the project is the creation of a physical thing, I'll be using the grant money to purchase the necessary components to build the various circuits required,” says Herperger. “It'll also help out with procuring access to some diagnostic equipment and specialized textbooks, and take some of the pressure off my tuition so I can focus on my research.”

Supervised by Dr. Arlan Schultz (Music), the final results of Herperger’s research will be presented next spring along with a research report outlining his findings, conclusions and future directions.

“Arlan is a near-infinite well of knowledge and a fantastic teacher, so I'll be going to him for guidance and to make sure I stay on the right track,” says Herperger. “I'm going after a fairly broad topic, so it can be easy to fall down rabbit holes and stray from the important stuff. He's been an excellent sounding board for any questions I've had so far, and always leads me [in the right direction].”

Award winners turning noise into music

trevor.kenney — Thu, 15 Oct 2015 16:57:44 +0000

Our sonic environment is composed of hundreds of different sounds that range from breathing, to traffic, to children’s voices at the playground down the street. For the average listener, these sounds blend together to create static background noise, which is easy to ignore.

Max Hopkins (l) and Alex Bohn (r) experiment with sound equipment in preparation for their IntraEnvironmental Sound Project, which won the pair the 2015 Joyce and Ron Sakamoto Award.

Alex Bohn and Max Hopkins have learned to hear things differently and encourage others to do so as well.

“We want to show people that active listening is cool,” says Bohn.

These two Digital Digital Audio Arts (DAA) majors find themselves one step closer to achieving their goal since they won the 2015 Joyce and Ron Sakamoto Prize for Research in the Digital Audio Arts. Recipients are awarded a prize of $5,000 to fund their research over a period of eight months and must present their findings in the form of a presentation or composition.

Designed to strengthen research excellence within the DAA program at the U of L, this award offers a unique opportunity for DAA majors to expand their research experiences as undergraduate students.

“This opportunity adds another element to our degree,” say Bohn, who with Hopkins was attracted to the Bachelor of Music Degree with a major in Digital Audio Arts because of its hands-on experience and the unique educational opportunities it provides.

Focusing on three key areas in southern Alberta, the pair are recording and isolating various sounds from those acoustic environments. They call their research endeavour the IntraEnvironmental Sound Project (IESP).

The project starts in Banff, moves to downtown Calgary and concludes on the U of L campus. The pair is using active listening to find the sounds they want to capture, developing a technique for capture, then taking these recordings and mapping them to their respective geographic regions. The recordings will then be made available to the public for free use.

Hopkins and Bohn found the inspiration for their project through NASA Sounds and the Montreal Sound Map, which also focus on capturing individual sounds within an environment.

“We were just spitballing ideas right around the time that NASA Sounds came about. We felt a draw to natural sound – getting a feel for where everything comes from. A lot of people don’t pay attention to what they hear and we can increase awareness by capturing a slice of that for them,” says Bohn.

The extent of some similar projects is to simply record the found sounds, but the goal for this duo is to take their research a step further by creating an interactive experience for others through public databases and original compositions containing only the sounds they have isolated and recorded.

“For example, maybe someone hammers on a pipe in downtown Calgary – you could use that sound as a drum beat,” says Bohn.

The scope of their project goes deeper as Bohn and Hopkins explore not only isolated sounds, but whether those sounds seem natural to the environment.

“It’s also about looking at what does not fit. We are aiming to create context,” says Hopkins.

Ultimately, users of their sound map will be able to download recordings and use them for their own projects through icons matched to their respective region.

Bohn and Hopkins plan to get underway by the end of October 2015, after some trial runs in downtown Lethbridge. You might also spot them walking the ��Ѹ��Դ��߿�Ƭ corridors recording and listening for just the right sound.

Follow this creative duo on their journey through Instagram (instagram.com/the_i.e.s.p), or on Facebook (The IntraEnvironmental Sound Project).

UNews - Digital Audio Arts

Archaeology podcast geared at educating public earns Dr. Ken Holyoke and on-air partner national award

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Digital Audio Arts student receives boost in funding for two research projects

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U of L symposium to focus on digital audio arts and music sociology

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MusiCounts Scholarship provides music student with week-long mentorship program

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Chambers-Moranz buoyed by support from Sakamoto Research Prize and Chinook Summer Research Award

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DAA Students learn from JUNO award-winning Mastering Engineer Graemme Brown

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Herperger using Sakamoto research prize to design and produce analog oscillator

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Award winners turning noise into music

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