Presenting: inclusive educational practices in the male dominated music technology classroom
Jamie Donnelly is a MA by Research student in Interactive Media at the University of York, as well as the course co-ordinator for the Access to HE Music diploma and lecturer of Higher Education Sound and Music Technology, Audiovisual Technology and Digital Video Production at Middlesbrough College. Jamie's passion for gender equality and inclusive practices in academia are informed by his own experiences as a lecturer, as well as the Audio Engineering Society (AES) UK panel at the University of York in February 2018 which discussed imbalances in depth. When not teaching Jamie can be found in the recording studio producing local, national and international artists or on tour. Jamie is a committed vegetarian, ardent vinyl records collector, convicted cat lover and bodybuilding enthusiast.
This presentation is based upon my MA by Research dissertation which addresses a gap in research on gender equality and inclusive practices within the sound and music technology classroom. Preceding research has investigated how women have been excluded in academia and the workplace, as well as sex aggregated data on sound and music technology programmes throughout the academic levels, and postulations on why women are dissuaded from academic progression and careers in sound and music technology. The research draws on the aforementioned previous studies and contributes new ideas to the field.
This body of work includes analysis of 96 female and non-binary respondents’ experiences of the sound and music technology classroom in terms of equality and inclusivity. The results of the survey have had profound implications on my own practices, informing a number of changes to curriculum and teaching environment design. These changes have resulted in a more diverse range of projects submitted by students, an increase in diversity of authors in student reference lists, and a more conscious, harmonious and respectful classroom. The results of the survey have been framed alongside existing literature and anecdotal evidence of implementing a number of changes as a consequence of the data.
The outcome is a set of recommendations and guidelines for improving gender equality and inclusive practices within the sound and music technology classroom.