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<title><string language="fre"><![CDATA[Roundtable discussion about Critical Listening and Technical Ear Training]]></string></title>
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<string language="fre"><![CDATA[Dr. Paul Thompson (Leeds-Beckett University, UK) and James Clemens-Seely (Banff Centre, Alberta) explore differing viewpoints on the benefits and limitations of using ‘Technical Ear Training’ (TET) modules to train as a sound engineer. Facilitated by Kelsey Taylor (University of Lethbridge, Alberta), this round table highlights Clemens-Seely’s teaching strategies that promote TET, and Thompson’s preference for other approaches of critical listening in a learning environment. Sharing pedagogical methods and audio education thoughts, the panelists address anti-education feelings in the audio industry and discuss to which extend TET can actually help audio students to create better music.  ]]></string></description>
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NOTE:Paul Thompson is a professional recording engineer who has worked in the music industry for over 15 years. He is currently a Reader at Leeds Beckett University in Leeds School of the Arts and his research is centred on record production, audio education, popular music learning practices, creativity and cultural production in popular music. His book Creativity in the Recording Studio: Alternative Takes was published in early 2019 by Palgrave MacMillan. 
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NOTE:James Clemens-Seely is the Senior Recording Engineer at Banff Centre for Arts and Creativity. Overseeing the Audio Post and Audio Recording Practicum programs in Banff, James is responsible for overseeing over 100 concert, album, film score, and live stream recordings annually. Before moving to Banff, he taught Technical Ear Training in McGill University’s prestigious Sound Recording graduate program. James’s engineering credits include albums nominated for several Junos and a Grammy award and a Canadian Screen Award for best music. From storage lockers to symphony halls, James has worked with garage bands, singer songwriters, nearly every orchestra in Canada (in addition to the New York Philharmonic and Boston Symphony Orchestras), electronic music artists, and everything in between. 
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NOTE:Kelsey Taylor is a soon-to-be graduate from the University of Lethbridge, completing a Bachelor of Music degree with a major in Digital Audio Arts. She is an audio engineer and producer, as well as multi-instrumentalist, and hopes to further her education in the field by pursing a master’s degree. Kelsey recently had a research paper published by the Journal of the Audio Engineering Society, and she had the honour of being able to present it at their online convention in October 2020. This exploration into perception of audio allowed her to think in different ways about the ways we as audio professionals use our ears, a key topic explored in this discussion. 
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NOTE:Kelsey Taylor is a soon-to-be graduate from the University of Lethbridge, completing a Bachelor of Music degree with a major in Digital Audio Arts. She is an audio engineer and producer, as well as multi-instrumentalist, and hopes to further her education in the field by pursing a master’s degree. Kelsey recently had a research paper published by the Journal of the Audio Engineering Society, and she had the honour of being able to present it at their online convention in October 2020. This exploration into perception of audio allowed her to think in different ways about the ways we as audio professionals use our ears, a key topic explored in this discussion. 
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NOTE:Amandine Pras is Assistant Professor of Digital Audio Arts at the University of Lethbridge and Associate Researcher of the Centre Georg Simmel at the School for Advanced Studies in the Social Sciences (EHESS) in Paris. Her research aims to enhance diversity and inclusion in audio through international multidisciplinary partnerships and cross-cultural pedagogy. PI of a SSHRC-IDG with Adam Patrick Bell, Emmanuelle Olivier, and James Clemens-Seely about the Social aspects and practices of the 21st recording studio, and of a SSHRC-PEG with Athena Elafros about Sound engineers’ and producers’ experiences of microaggressions in the recording studio, Amandine is leading the Music and sound-making research axis of AFRINUM- Digital cultures in West Africa: Music, Youth and Mediations directed by Emmanuelle. In 2018, Amandine released A Home Away From Home, a 50-min video documentary based on improvised meetings between outstanding musicians from New York and from Kolkata that she carried out in West Bengal at the end of her postdoctoral residency at the New School for Social Research in New York. She completed her PhD thesis in Information Sciences at McGill (2012) about best practices for musical recording in the digital era. Since her graduation from the Advanced music production program (FSMS) at the Paris Conservatoire (2006) and her participation in the Audio Recording Engineer Practicum at the Banff Centre (2007-2008), Amandine has pursued a career as a freelance music producer and audio engineer. She has worked with musicians as diverse as the ARC Ensemble, Jim Black, Quatuor Bozzini, Luciane Cardassi, Daniel Carter, Nels Cline, Benoit Delbecq, Subhajyoti Guha,Mary Halvorson, Tony Malaby, the Metropolis Ensemble, Andy Milne and William Parker. 
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NOTE:Kirk McNally&nbsp;is a recording engineer, music producer and sound artist living in Victoria, British Columbia on the unceded territories of the Lekwungen-speaking peoples, now known as the Songhees and Esquimalt Nations. He received his Master’s of Music in Sound Recording from McGill University. As a recording engineer he has held positions at the Tanglewood Music Centre (Lenox, MA), Reaction Studios (Toronto, ON), and the Warehouse Studio (Vancouver, BC), working with artists including, The Boston Symphony Orchestra, Bryan Adams and REM. Kirk is the assistant professor of Music Technology for the School of Music at the University of Victoria, where he is the program administrator for the school’s undergraduate combined major program in music and computer science and the graduate program in music technology. His research and creative work has been supported by the Deutscher Akademischer Austausch Dienst (DAAD), the Canada Council for the Arts, the University of Victoria’s Learning and Teaching Centre, the Banff Centre for Arts and Creativity and the Social Sciences and Humanities Research Council of Canada (SSHRC). &nbsp; 
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