ABSTRACT
This chapter argues against the silo mentality that separates musical subjects in higher education curricula. It focuses on the concepts of the “practicing musicologist” and “thinking artist” to illustrate how teaching electroacoustic (or sound-based) music, which possesses its own paradigm, should ideally be presented holistically, where relevant aspects of theory and practice are introduced simultaneously. It further argues that creating electroacoustic music without a broad knowledge of its various disciplines, technologies, techniques, and histories indicates a pedagogical flaw, as does undertaking analytical and other musicological studies of electroacoustic composition without hands-on experience of sonic creativity and, where relevant, collaborative musicking.
