Dan Keown teaches Audio + Music Production Pedagogy, Teaching Popular and Folk Music, and the Electronic Music Ensemble at the Dana School of Music at Youngstown State University in Youngstown, Ohio. He serves on committees for the Ohio Society for Music Teacher Education and the Ohio Music Educators Association.

How has technology changed music teaching since the beginning of your career?

It’s honestly been amazing to see how much technology has transformed music education over the years. The biggest game-changer? Access. Back in the ’90s, programs like Pro Tools and Cubase felt like they belonged only to professional studios or big-name producers. But then, seemingly out of nowhere, GarageBand started coming preloaded on every Mac—and just like that, anyone with a computer could dive into music-making, whether they were in school or not.

These days, I’m still kind of blown away by the fact that people can produce full songs right from their smartphones. Thinking back to where things were when I finished high school, it’s wild how far we’ve come.

Another major shift has been just how intuitive and user-friendly these tools have become. DAWs and VSTs now come in all shapes and sizes, which means teachers can find platforms that really match their students’ learning styles and interests. And with the rise of Web 2.0, we saw an explosion of browser-based tools for recording, notation, remixing, and performance practice. Along with some newly designed hardware tools, these platforms have made it much easier to personalize music instruction and open the door to students who might not have seen themselves as musicians in a traditional sense.

What’s even more exciting is how today’s tools aren’t just supporting music education—they’re expanding it. They allow students to explore sound design, audio engineering, beat-making, podcasting, scoring for video games or film, and even immersive audio production. Technologies that used to be out of reach are now part of the classroom experience. For example, immersive sound—once reserved for film studios—is now something students can explore with accessible DAWs and surround rendering tools. It’s not just cool tech; it’s a creative sandbox that also builds real-world skills. Take Ableton Live, for example. You’re no longer limited to the stock plug-ins or instruments that come packaged with a typical DAW. With Live, you can actually build your own plug-ins and virtual instruments to do exactly what you imagine—whether that’s through customizable instrument/effects racks or using Max for Live. It opens up a whole new world for producers and creators, offering not just artistic freedom, but real entrepreneurial potential too.

And that’s really the heart of it: technology isn’t just changing how we teach music—it’s expanding what music education is. It’s giving students more ways to express themselves creatively, while also setting them up for all kinds of careers, both in and outside the music world. With STEAM programs, they’re building portfolios that blend creativity with critical thinking, teamwork, and tech know-how—skills that matter whether they want to be producers, engineers, app developers, educators, or even start their own thing.

At the end of the day, this new wave of accessible tools is making music-making more inclusive, more cross-disciplinary, and more in sync with how people think, create, and connect today. That kind of access is really what’s shifting the landscape—it’s giving students chances to explore, create, and express themselves in ways that just weren’t possible before. Along the way, they’re also picking up skills like creativity, collaboration, systems thinking, and digital fluency—things that go way beyond music and translate to fields like business, engineering, programming, and health and human services. Music tech becomes the space where they learn to think like designers, storytellers, and innovators. But at its core, it’s still about connection. Connecting people, ideas, and that spark between sound and imagination.

Briefly describe your journey in building a technology infused music curriculum (or integrating tech into a traditional curriculum)

My journey into tech-infused music education actually started when I was just a toddler—barely tall enough to reach the controls on my parents’ 8-track and LP combo entertainment center. I was fascinated by the sounds, the buttons, the way everything worked together to make music. Fast forward to high school, when a teacher noticed that same curiosity and handed me a dusty synthesizer they’d found in a forgotten closet—along with a mysterious manual titled The Wonderful World of MIDI. I had no idea how the manual and the synth were supposed to connect, but I was instantly hooked. Even though it all felt confusing at first, I was drawn in by the idea that this was the kind of technology behind the music I loved. 

That early spark set me on a path to earn a degree in music recording technology from the University of Wisconsin–Oshkosh and eventually took me to Los Angeles, where I spent time working for a couple of post-production studios. Over time, my journey shifted toward education, and after several years teaching in the classroom—and continuing my studies in choral music education at Indiana State University and the University of Missouri–Kansas City—I joined the faculty in music education at the Dana School of Music at Youngstown State University.
At Dana, I found a natural opportunity to return to my roots in audio and music production—this time with a new mission- demystify music production and make it feel approachable in educational settings. I want to provide students and teachers with the kind of hands-on, creative music-making experiences I wish I’d had as a kid—opportunities where curiosity is encouraged, tech isn’t intimidating, and sound becomes a playground. By removing the fear factor, we open the door for more people to connect with this vibrant and evolving form of musical expression.

At YSU, undergraduate music education majors take a course called Teaching Popular and Folk Music, where they dive into music production alongside pedagogy. We also offer a 9-credit Audio and Music Production Pedagogy Certificate for undergraduate music education majors, which includes advanced production work, participation in our electronic music ensemble, and a capstone independent study involving preclinical fieldwork teaching music technology in real classroom settings. In our online Master of Music Education program, we’ve built in similar experiences—starting with Contemporary Trends in Music Education and continuing into a dedicated course on Audio and Music Production Pedagogy for grades K-12 music teachers.

Outside the core curriculum, we also offer workshops and special classes. One of the most exciting has been Think Like a Synth, a hands-on course led by synth legend Anthony Marinelli. What made it especially impactful was that students didn’t just learn about synthesis—they got to work directly with Anthony, ask questions, and receive feedback on their creative ideas. That kind of access to a working artist of his caliber made the experience deeply inspiring and memorable. 

While preparing the next generation of teachers is key, there’s also a real need to support today’s K–12 music educators—many of whom never had formal training in audio production. I’ve talked with so many teachers who are excited about music tech but unsure where to start. That’s why I’m passionate about professional development that helps teachers experience the technology first, not just learn how to teach it. If someone’s never produced music before, jumping straight into pedagogy can feel abstract. But once they get their hands on the tools and start creating, everything starts to click. It makes their teaching more real, more effective—and a lot more fun.
This hands-on mindset also fuels my outreach beyond campus. I enjoy visiting schools and running clinics, partly to get students excited about what music and tech can do—but also to show teachers that bringing these experiences into their classrooms is totally doable! For example, earlier this semester I visited some 4th-grade music classes and taught a lesson on the science of sound using synthesizers. By the end of the day, the teacher was so inspired by what the students created that she applied for (and received!) grant funding to purchase synthesizers and theremins for her students.

It’s also been a joy to provide feedback on student production projects in other schools and help guide their growth. One initiative I’m especially proud of is our collaboration with Ableton and TI:ME to host the Ableton Educators Day—a full day of professional development where music and STEAM educators (and their administrators!) come together to learn from leaders in music production pedagogy. The ripple effects have been powerful in our region. After last year’s event, several teachers and administrators were inspired to either start new music tech programs or expand existing ones.

Looking ahead, I’m excited to keep the momentum going—through summer camps, after-school programs, and continued partnerships that help schools launch or strengthen their own music technology offerings.

Dan Keown on why music teachers need to learn music technology skills :

I think of it like the safety instructions you hear on airplanes: in the event of an emergency, you’re told to put on your own oxygen mask before helping others. The same applies here—by improving our own creative and technical chops first, we’re in a better position to support our students effectively. 

What technology are you using in your music lessons on a daily basis?

In our music education classes, we use a mix of tools that introduce students to both the creative and technical sides of music-making. For DAWs, we primarily work with Ableton Live Suite and Soundtrap, giving students experience with both software-based and web-based workflows. Our lab is also equipped with GarageBand and Pro Tools, Novation KeyLab MIDI controllers, and a wide range of VSTs. We explore audio synthesis using Behringer Pro-1 synths, Arturia KeyStep controllers, Zoom MS-70CDR+ pedals, Moog Thereminis, and the Behringer 2600—a modern nod to the ARP 2600. Students also get hands-on time with Ableton’s Push 3, which opens up unique creative possibilities. For live sound and mic techniques, we use SM57 and SM58 mics, Allen & Heath and Mackie mixers, and Scarlett audio interfaces to tie everything together. Beyond the lab, a dedicated space for popular music instruments helps students blend acoustic and electronic approaches. And for those in YSU’s audio and music production (AMP) program, boy – there’s access to an even wider range of tools to prepare students as audio and music engineers and producers after graduation.

What is a particular success story from using technology in your music classes?

Recently, I’ve had the opportunity to offer synthesizer clinics to students in grades 3 through 12 at area schools—and it’s been such a rewarding experience. This project was inspired by the incredible work at the Bob Moog Foundation in Asheville, North Carolina, especially their Dr. Bob’s Sound School program, which brings audio science to every 2nd grader in the district. That initiative planted the seed for me to bring something similar to our region.
These clinics focus on hands-on exploration. Students dive into the fundamentals of audio synthesis using components like VCOs, VCFs, VCAs, envelope generators, LFOs, and effects processors to build their own custom sonic patches or soundscapes. It’s not just about pushing buttons—it’s about shaping sound from scratch. That process gives students a powerful sense of ownership and creativity.

These sessions have also grown into a bigger collaboration with YSU’s STEM College, and we now include them as part of our STEM outreach days. During these events, 5th and 6th graders come to campus and dive into a variety of STEAM activities — and they really seem to enjoy the experience. Our own music and STEM majors get involved too, helping out during the hands-on workshops and working one-on-one with the students.

Watching these young students dive in—experimenting, getting curious, and building something truly their own—reminds me of something Bob Moog once said: the synthesizer is “an instrument with limitless possibilities.” At a time when education is all about breaking down barriers and encouraging personal expression, I can’t think of a better tool. Even in a quick 35- or 40-minute session, you can see that spark of excitement when a student realizes, “Wait, I made that sound.” That moment of wonder—that’s where the magic happens. It’s a powerful mix of science, art, and imagination—and it really sticks with them.

What advice do you have for others reshaping their music classes with technology-based lessons?

One of the biggest things I’ve learned is just how important it is to give students the space and support to create. That means we, as educators, have to shift into more of a facilitator role—guiding the process rather than directing every step. The outcomes can be unpredictable (and that’s a good thing!), but with project-based learning, we’re meeting each individual student where they are and helping them push forward in their own creative journey. It takes some flexibility and a solid foundation in the content to really help students grow as creators, critical thinkers, and problem solvers.

So if I had to give one piece of advice that could help fellow teachers facilitate impactful learning experiences within audio and music production, it would be this: carve out time regularly to create music yourself. Keep learning. Stay curious. Dive deeper into your own journey as a music producer. I’ve personally gotten so much out of my time this past year as a student at Slam Academy in Minneapolis, Minnesota. The learning that I’ve gained at Slam has helped me sharpen my own skills and recharge creatively—but beyond that, it’s made a huge difference in how I teach. I’m more comfortable jumping between a variety of student projects, offering production ideas, guiding students through roadblocks, and solving technical issues on the fly.

I think of it like the safety instructions you hear on airplanes: in the event of an emergency, you’re told to put on your own oxygen mask before helping others. The same applies here—by improving our own creative and technical chops first, we’re in a better position to support our students effectively. You’ve got to exercise those creative and technical muscles regularly if you want to stay sharp. The more you produce and create for yourself, the more natural it becomes to fold that into your teaching. And honestly? Making music is just a ton of fun! 

All in all, when we take time to explore, experiment, and create for ourselves, we’re not just honing our skills—we’re reconnecting with the joy that brought us to music in the first place. That energy is contagious in the classroom. Students can tell when you’re excited and growing alongside them. It cultivates a new level of trust and a culture of shared creativity and curiosity. It makes learning feel more like a shared adventure than a top-down lesson plan. So make time for it. Your students will feel the difference, and you’ll probably have more fun teaching, too.