Though the release of ChatGPT in 2022 has served as a catalyst for human-computer-interaction in general (Weßels 2023) and although different ways of integrating AI tools in music education have been tested and established since then, most of this has been done working with Large Language Models (LLMs) and is thus text-based (Bade 2023, Tress 2023, Unterreiner 2024). As a discipline, which above-all deals with somewhat creative, music education has still to come up with ways how to integrate specific AI tools at differing depth-levels. For the area of songwriting or music creation these depth-levels could be labeled (1) text-to-song prompting (e.g. udio or suno), (2) text-to-sound-prompting (e.g. SynthGPT) as well as (3) development and establishment of custom GPTs. The aim of this paper is to share examples for all of these three levels of AI-integration into practical human-computer-interaction-songwriting, and it does so while focusing on teaching and learning situations in community music setting, including learners of different educational backgrounds, ethnicities, age, gender etc. The second goal is to present findings on the used polyvalent learning spaces which are characterized by a high degree of scope for learner participation by actively opening up the boundaries not only between formal and informal types of learning (Elmore 2019), but also between different types of space in a semi-permeable way. The context and place of this study is the so-called Digital Learning Campus (DLC) Luebeck, a learning center run by three different universities, the regional open broadcast center and over 30 associated partner institutions (https://dlc.dh). The DLC which is funded by the EU (EFRE) with over 8 Mio. Euro and thus provides the rare opportunity to set aside sufficient material and personnel resources for the project to address people (and collect data) on a regular basis.

My research investigates how teenagers learn while producing music on laptops in a maker space dedicated to digital music production. This space consists of a room equipped with musical instruments, laptops, sound interfaces, and microphones, where students can experiment with the equipment and explore music production. The environment, though partly set in an upper high school, is rather informal, lacking teachers, instructions, and defined goals. Understanding informal learning, emphasized by different authors (Sefton-Green, 2004; Eschach, 2005; Green, 2010), is essential for integrating informal elements into lesson designs (Buchborn, 2021; Buchborn & Tress, 2023) that connect to students' real-life experiences (Crawford, 2009; Abrahams, 2015; Hein, 2017).

The theoretical framework for the study is rooted in the post-digital paradigm, thus focusing on the interaction between people and digital tools (Clements, 2018). Therefore, music technology is considered here as a social practice to teach rather than just as tools for teaching. My hypothesis is that learning in music technology contexts is unique and context specific.

By combining various learning models, an analysis grid inspired by Folkestad (2006) with four main dimensions (situation, learning style, intentionality, and ownership) was developed, and will be further developed.

Participants complete a pre-session questionnaire to outline their musical and technological background. During the sessions, their interactions with the devices are recorded. A qualitative analysis of collected data (screen and room audio/video, and participant interviews) aims to understand their learning processes through the observed and reported practice.

The findings will contribute to didactic reflections for music education in secondary schools by considering students' informal musical experiences. This study seeks to offer insights into real life for designing music education that incorporates contemporary digital musical practice of adolescents. The first results will be discussed in line with both didactic frameworks and curriculum structures.

Technological advancements have transformed musical skills, cultural awareness, and artistic identities (Hugill, 2008). These transformations have implications for music education (Väkevä, 2013). Hugill (2008) emphasises the importance of developing a personal aesthetic, understanding contexts of one's work, and acquiring specific musical and technical abilities. Authors like Hugill (2008), Väkevä (2013) and Clements (2018) increasingly argue for the importance of critically reflecting on the impact of digital technologies. With the concept of post-digital musicianship, we refer to Hugill’s reflections to describe musicianship in the digital age, involving the integration of technological advancements with traditional musical skills, cultural awareness, and artistic identity.

In our paper, we will present the results from a study investigating how university music students describe the development of post-digital musicianship within an interdisciplinary project and how they discuss emerging digital technologies and musical practices as a relevant part of music education and music teacher training. Aim of the interdisciplinary project was the development of a multimedia performance in a group of 4-5 students, using practices like DJing and VJing. These practices were new to the students, as was performing live as a group resulting from their work. The students were supposed to combine digital practices with non-digital practices.

After the project, group discussions were led in which the students’ learning experiences during the project, their approaches to the development of the performances, and the final performances were critically reflected, using excerpts from video recordings of the performances as stimulated recall material. The group discussions were recorded and transcribed. We use documentary method to analyse the interview material and to reconstruct students’ expectations and perceptions of the development of their own artistic practice (Bohnsack et al., 2013).

We will discuss our results against the background of approaches modelling professional competences of future teachers (Puffer & Hofmann, 2022; Frederking, 2022).