Due to its complexity and hidden processes, learning music presents peculiar challenges. By constructing activities with the help of software, such as Max/MSP, it is possible to reveal these processes and add the attributes of the game. In doing so, fluid and captivating learning meets the unveiling of its processes.

The aim of the workshop is to showcase some of the projects developed on Max/MSP to address specific ear training challenges in the dimensions of rhythm, melody and harmony, implementing a direction in the activities that is considered pedagogically correct and, at the same time, through gamification, promoting an increase in motivation.

Using a cell phone, PlayStation Buzz controllers or controllers built specifically for the purpose, made from curtain rods, activities are explored in a game format, either individually or in groups.
Melotrix: participants listen to a melody, with no rhythm, which is projected; sometimes, with predetermined intensity, there are differences between what is written and what is heard. The participants have to react to the mistakes with the PS Buzz controllers.
Rhythmobira: two to four participants, each with a rhythmic line; each rhythmic line is written with ratio signs, in a kind of a beatbox. At a metronome signal, the group has to coordinate the rhythmic phrases, percuting on sticks.
Intertoca: A melody plays, without rhythm, at predetermined intervals. Various activities can be done: one of them can be to respond on the instrument as the melody plays.

The gamification dimension lends a highly motivating attribute to the activities.
The participants' responses reveal otherwise hidden decision-making processes in performance. These activities therefore serve not only as highly engaging musical learning processes, but also as demonstrations of performative decision-making processes

This workshop explores the transformative power of digital sampling as a didactical tool for counterstorytelling (Hess 2019), focusing on the marginalized role of women* in electronic music and hip hop historiography. The participants engage with the sounds and voices of female* artists through hands-on sampling techniques. Through listening, sampling, editing and discussing, we will challenge dominant narratives and explore how these genres have historically marginalized women*’s contributions. Participants will create their own tracks, fostering a deeper understanding of how sampling can be used as a form empowering knowledge practice in music education.

Against this background, the practice of sampling is introduced not just as a set of technical skills but rather as a means of unlearning, recontextualizing and reclaiming narratives. Ultimately, the session will provide educators with the tools and perspectives necessary to incorporate diverse musical actors, practices, perspectives, technologies, and voices into their curricula, fostering an inclusive approach that highlights the vital role women* have played in shaping music all along.

Emphasizing on diversity, we are aiming at offering educators approaches to integrating digital sampling techniques into their teaching, thus encouraging students to critically engage with music and sound.

Hess, J. (2019) ‘Moving beyond resilience education: musical counterstorytelling’, Music education research, 21(5), pp. 488–502.