In light of the need to start clearing the methodological confusion in the field of arts management, this article provides a critical overview of the teaching curricula in the field. The ‘two different worlds’ syndrome probably applies to other transnational communities whose creative centres lie in the diaspora rather than in the original homeland.
Conversely, recordings of traditional music represent an Afghan culture that Afghans have moved away from in their quest for modernity. Packaging, lack of content information and the marketing of Afghan-produced recordings are also part of the explanation. The new Afghan popular music on compact disc, privileging the use of electronic keyboards with their programmable percussion libraries, is of little interest to the world music audience, which seeks the exotic timbres and ‘authenticity’ of non-Western instruments. It shows how recordings aimed at the two domains have remained largely independent, and offers some suggestions as to how and why this should be. This paper examines the two largely separate worlds of audio recordings of Afghan music made for the Afghan market and Afghan music recordings that have found their way into the ‘world music’ market. Research into the wider musical context informed the ethnography but had little visible presence in my book.
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Monograph that was a major output from this research (Baily, 1988) I focused on male professional musicians operating in Herat city. When its came to writing the ethnographic The largely separate world of women’s music making in Herat was researched by my wife Veronica (Doubleday, 1988), so that together we more or less covered the whole range of instrumental and vocal performance. My research in Herat was wide-ranging, looking into the performance of various genres: urban and rural folk, popular and art vocal and instrumental traditional and modern professional and amateur female and male and also at various forms of religious singing that did not fall clearly into the category of music, such as Sufi zikr, Shiah lamentations and Quranic recitation. My research on the music of Afghanistan began in the 1970s, with two years of ethnomusicological fieldwork, most of it in the provincial city of Herat, and to a lesser extent the capital, Kabul. To explore these different critical engagements and how they sit in relation to students becoming industry-ready, this article draws on everyday pedagogies to highlight students' revealing reflections on the industry-ready agenda in higher education Students on a theory and practice mix course, in contrast, drew on theory to offer critical accounts focused on industry norms and production practices. Criticism in this context was focused on making better games.
On an industry-focused Games Design course, students highlighted their appreciation and engagement with industry needs and what is required on their part to enhance their employment prospects. Drawing on research with higher education students on digital games development courses, this article examines students' accounts of preparing themselves as industry-ready in terms of industry needs. This article addresses the increasing emphasis placed on industry collaboration and dialogue for underpinning student employability. In drawing out such questions and issues, this article will seek to outline how exploring the practices and understandings of students prompts reflection on both located and specific and more broadly applicable engagements between digital games technologies, industry, and individuals.
Through exploring the transition from hobby to career and the overlapping player/student/designer positions, questions concerning human and technological interactions, identity, and wider career and skills contexts are highlighted. Opening with accounts of their childhood pastimes and passions, the discussion will move to consider closely students? development within a higher education context and the associated, emerging shifts in their engagements with games technologies. games design students, games design course tutors, and professional designers alongside broader careers advice and guidance from industry representatives, this article will explore the changing relationships games design students describe with digital games and games technologies.
Drawing on empirical research conducted with U.K.