Call for Con­tri­bu­tions

Post-digital Practices in Music Teacher Training

[PDF]

Post-digital practices such as producing, DJing, sampling and remixing are as much an expression of contemporary music culture as making music on the web, in virtual spaces, or with artificial intelligence (e.g. Haenisch et al., 2023; Mazierska et al., 2019; Miranda, 2021). The qualification of these practices as post-digital indicates that (1) they could only emerge under conditions shaped by digitalization; that (2) at the same time they cannot be understood as exclusively digital, but are intertwined with analogue practices and processes in multiple ways; and that (3) researching these practices requires considering not only their technical dimension, but also their social, ecological, cultural, aesthetics and economic aspects, among other (e.g., Buchborn & Treß, 2023; Clements, 2018; Weidner & Stange, 2022).

Despite their relevance to both music and education, systematic research on these practices and their theory-based and empirically grounded translation into current and future music teacher training remains largely unexplored (e.g., Ahlers & Godau 2019; Feneberg 2022; Godau & Haenisch 2022; Kattenbeck 2023; Kattenbeck & Schaubruch [forthcoming]; Schaubruch & Krupp [forthcoming]). Therefore, this Special Issue aims to address this gap from music educational as well as inter- and transdisciplinary perspectives. Qualitative, quantitative, theoretical, and speculative contributions are welcome, as well as practice-based reports and experimental formats. Topics may include, but are not limited to, the following:

  • Research on post-digital practices (e.g., artistic strategies and techniques, aesthetics, artifacts, forms of knowledge and learning practices),
  • Methodologies for researching post-digital practices (e.g., situation analysis, design-based research, actor-network theory),
  • Characteristics of post-digital practices (e.g., hybridity, deterritorialization, algorithmization, connectivity, mobility),
  • Translations of post-digital practices into music teacher training (e.g., teaching concepts, best practice examples, curricula, competence heuristics),
  • Reflections on music didactic concepts of the post-digital (e.g., deeper learning, design-based learning, maker education),
  • Integrative perspectives on post-digital practices (e.g., sustainability, diversity, power),
  • General perspectives on the concept of post-digitality (e.g., potentials, challenges, ambivalences, criticism),
  • Discussions of educational policy guidelines, recommendations, and perspectives (e.g., strategies of the UNESCO (like the Recommendation on the Ethics of Artificial Intelligence) and the EU (like DigCompEdu)),
  • …

Formats and guidelines

  • Length: 25.000 – 50.000 characters incl. spaces, excl. references
  • Language: German or English
  • Formatting: Contributions must comply with current APA guidelines.
  • Review: All contributions will undergo an open peer review process.
  • Open Access: SUSTAIN publishes under the Diamond Open Access model – there are no fees for authors or readers.

Timeline

  • Abstract submission: August 15, 2025 (working title, research question, method, expected results, etc.; max. 2.500 characters incl. spaces, excl. references)
  • Full contribution submission: December 15, 2025
  • Review feedback: February 15, 2026
  • Publication: Contributions will be published on an ongoing basis after review process and compiled in a special issue in due course.

Please send your abstract to info@sustain-journal.world. Full contributions will be submitted and peer-reviewed via the SUSTAIN Open Journal System.

We look forward to your contributions!

Sincerely,

Chris (Kattenbeck) & Josef (Schaubruch)

References

Ahlers, M., & Godau, M. (2019). Digitalisierung – Musik – Unterricht: Rahmen, Theorien und Projekte. Diskussion Musikpädagogik, 19(82), 4–9.

Buchborn, T. & Treß, J. (2023). Acting Self-Determinedly and Critically in a Post-Digital Future? A Critical Review on Digitalisation in Music Education. Culture, Education, and Future, 1(1), 66–82. https://doi.org/10.5281/ZENODO.8010504

Clements, A. (2018). A Postdigital Future for Music Education: Definitions, Implications, and Questions. Action, Criticism, and Theory for Music Education, 17(1), 48–80. https://doi.org/10.22176/act17.1.48

Feneberg, P. (2022). Digitale Musikmedien und -technologien in der Musiklehrer*innenausbildung an der Universität Potsdam. In A. Bossen, C. Tellisch, P. Falky, A. Lipp, P. Feneberg, K. Wittram, S. Beckmann & T. Karow (Eds.), Perspektiven eines fachübergreifenden Musikunterrichts (pp. 85–103). Universitätsverlag Potsdam. https://doi.org/10.25932/publishup-54863

Godau, M. & Haenisch, M. (2022). Herausforderungen für eine Popmusikpädagogik des 21. Jahrhunderts: Kritische Anfragen an das Feld vor dem Hintergrund der musikpädagogischen Diskussion. Populäre Musik / Kultur in der Jugendarbeit, hg. v. Landesarbeitsgemeinschaft Populäre Musik / Kultur Berlin e.V. (LAG Pop), 21–65.

Haenisch, M., Godau, M., Barreiro, J., Maxelon, D. & Neuhausen, T. (2023). Die Plattformisierung des Songwritings: Musik erfinden unter Bedingungen des short video turn am Beispiel von TikTok. In M. Göllner, J. Honnens, V. Krupp, L. Oravec & S. Schmid (Eds.). 44. Jahresband des Arbeitskreises Musikpädagogische Forschung / 44th Yearbook of the German Association for Research in Music Education (pp. 305–321). Waxmann. https://doi.org/10.31244/9783830997641.18

Kattenbeck, C. (2023). „Beatmaker haben ja nicht den Luxus, auch Musiker zu sein.“: Zur Notwendigkeit, die westliche Kunstmusik in der Musiklehrer*innenausbildung zu provinzialisieren. In M. Göllner, J. Honnens, V. Krupp, L. Oravec & S. Schmid (Eds.), 44. Jahresband des Arbeitskreises Musikpädagogische Forschung / 44th Yearbook of the German Association for Research in Music Education (pp. 347–363). Waxmann. http://doi.org/10.31244/9783830997641

Kattenbeck, C. & Schaubruch, J. [im Erscheinen]. Postdigitalität als gemeinsamer Bezugspunkt von Popular Music Studies und Musikpädagogik? Zum Potenzial eines travelling concepts am Beispiel hybriden Musizierens im Lehramtsstudium. Jahrbuch Lied und Populäre Kultur, 70.

Mazierska, E., Gillon, L. & Rigg, T. (Eds.). (2019). Popular Music in the Post-Digital Age. Politics, Economy, Culture and Technology. Bloomsbury. 

Miranda, E.R. (Ed.). (2021). Handbook of Artificial Intelligence for Music. Foundations, Advanced Approaches, and Developments for Creativity. Springer. https://doi.org/10.1007/978-3-030-72116-9

Schaubruch, J. & Krupp, V. [im Erscheinen]. Vermittlung digitalisierungsbezogener, künstlerisch-ästhetischer Praktiken im Musikunterricht: Überlegungen zum Konzept des „post-digital musicianship“. In J. Treß, T. Buchborn & P. Stade (Eds.), Konturen einer postdigitalen Musikpädagogik. Schriften der Hochschule für Musik Freiburg; Georg Olms Verlag / Nomos Verlagsgesellschaft.

Weidner, V. & Stange, C. (2022). Musikalische Bildung in der digitalen Welt: Die digitale Transformation im Fokus von Musikpädagogik und -didaktik. In V. Frederking & R. Romeike (Eds.), Fachliche Bildung in der digitalen Welt: Digitalisierung, Big Data und KI im Forschungsfokus von 15 Fachdidaktiken. (pp. 260–289). Waxmann.