ABSTRACT
The field of audio engineering straddles a precarious void in current history. With many baccalaureate programs in their infancy and some of the earliest avenues of training barely 50 years old, it is easy to understand why Keyes states there
are no shortage of articles promoting the advantages of students using music technology to learn various subjects and for developing creativity in particular, however the pedagogy of how students will actually become proficient in using this technology remains somewhat murky.
