國立高雄大學圖資館 |

Language: English

Back

Learning through noise

Record Type:	Electronic resources : Monograph/item
Title/Author:	Learning through noiseby Peter J. Woods.
Author:	Woods, Peter J.
Published:	Cham :Springer Nature Switzerland :2025.
Description:	xi, 272 p. :ill., digital ;24 cm.
Contained By:	Springer Nature eBook
Subject:	Noise music.
Online resource:	https://doi.org/10.1007/978-3-032-11019-0
ISBN:	9783032110190$q(electronic bk.)

Learning through noise
Woods, Peter J.

Learning through noise[electronic resource] /by Peter J. Woods. - Cham :Springer Nature Switzerland :2025. - xi, 272 p. :ill., digital ;24 cm.

Chapter 1: Introduction -- Section 1 : Embracing Noise as an Educational Technology -- Chapter 2 : Reclaiming Abject Sonics -- Chapter 3 : The Abject Pedagogies of Noise -- Chapter 4: When Objects Think Back -- Chapter 5: Noise Music's More Than Human Community of Practice -- Section 3 : Noise Music in Context -- Chapter 6: Critiquing White Noise -- Chapter 7 : Towards a Non-White Listening of Noise Music -- Chapter 8 : A Final Note.

This book argues that the formation of noise music as a distinctive musical genre (and noise music scenes as distinct musical subcultures) relies on the production of unique learning ecologies and vice versa. Noise music does not exist as a musical form that one learns to reproduce, create within, or appreciate in defined educational contexts (i.e. classrooms) separate from where this music lives (venues, recording studios, practice spaces, etc.). Instead, making and listening to noise music in itself represents the primary method of learning about and within the genre. Because the processes of making, listening to, and learning within noise music are deeply intertwined, the book contends that understanding noise music inherently requires understanding the unique and situated learning processes of the genre. Peter J. Woods is an assistant professor in learning sciences at the University of Nottingham. Through his research, he explores what and how people learn through creative production in both formal and informal learning settings. In particular, he investigates how cultural contexts (ranging from noise music scenes to math classrooms) and situated technologies both produce and restrict different types of curricula, pedagogies, and knowledge. Previous publications on noise music can be found in Culture, Theory, and Critique; Teachers College Record; Critical Studies in Improvisation and more. He also teaches numerous courses on learning theory and educational technology.

ISBN: 9783032110190$q(electronic bk.)

Standard No.: 10.1007/978-3-032-11019-0doiSubjects--Topical Terms:

308137
Noise music.

LC Class. No.: ML3534

Dewey Class. No.: 781.66

Learning through noise
LDR:02886nmm a2200325 a 4500 001 692287
003 DE-He213
005 20260119133408.0
006 m d
007 cr nn 008maaau
008 260604s2025 sz s 0 eng d
020 $a 9783032110190$q(electronic bk.)
020 $a 9783032110183$q(paper)
024 7 $a 10.1007/978-3-032-11019-0 $2 doi
035 $a 978-3-032-11019-0
040 $a GP $c GP
041 0 $a eng
050 4 $a ML3534
072 7 $a AVGC6 $2 bicssc
072 7 $a MUS049000 $2 bisacsh
072 7 $a AVL $2 thema
082 0 4 $a 781.66 $2 23
090 $a ML3534 $b .W896 2025
100 1 $a Woods, Peter J. $3 1008947
245 1 0 $a Learning through noise $h [electronic resource] / $c by Peter J. Woods.
260 $a Cham : $b Springer Nature Switzerland : $b Imprint: Palgrave Macmillan, $c 2025.
300 $a xi, 272 p. : $b ill., digital ; $c 24 cm.
505 0 $a Chapter 1: Introduction -- Section 1 : Embracing Noise as an Educational Technology -- Chapter 2 : Reclaiming Abject Sonics -- Chapter 3 : The Abject Pedagogies of Noise -- Chapter 4: When Objects Think Back -- Chapter 5: Noise Music's More Than Human Community of Practice -- Section 3 : Noise Music in Context -- Chapter 6: Critiquing White Noise -- Chapter 7 : Towards a Non-White Listening of Noise Music -- Chapter 8 : A Final Note.
520 $a This book argues that the formation of noise music as a distinctive musical genre (and noise music scenes as distinct musical subcultures) relies on the production of unique learning ecologies and vice versa. Noise music does not exist as a musical form that one learns to reproduce, create within, or appreciate in defined educational contexts (i.e. classrooms) separate from where this music lives (venues, recording studios, practice spaces, etc.). Instead, making and listening to noise music in itself represents the primary method of learning about and within the genre. Because the processes of making, listening to, and learning within noise music are deeply intertwined, the book contends that understanding noise music inherently requires understanding the unique and situated learning processes of the genre. Peter J. Woods is an assistant professor in learning sciences at the University of Nottingham. Through his research, he explores what and how people learn through creative production in both formal and informal learning settings. In particular, he investigates how cultural contexts (ranging from noise music scenes to math classrooms) and situated technologies both produce and restrict different types of curricula, pedagogies, and knowledge. Previous publications on noise music can be found in Culture, Theory, and Critique; Teachers College Record; Critical Studies in Improvisation and more. He also teaches numerous courses on learning theory and educational technology.
650 0 $a Noise music. $3 308137
650 1 4 $a Contemporary Music. $3 913292
650 2 4 $a Music. $3 227185
650 2 4 $a Sound Studies. $3 915111
710 2 $a SpringerLink (Online service) $3 273601
773 0 $t Springer Nature eBook
856 4 0 $u https://doi.org/10.1007/978-3-032-11019-0
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)