The emergence of many types, such as disco, krautruck, new wave, synthpop, hip, and electronic dance show. In the 1980s, these large numbers of popular electronic music took hold, adopted for exchange, adopted, adopted, and adopted for economic exchange.

Some assumptions behind outcomes-based learning are that a given cohort of students should be learning the same thing in the same way, that what the said students are being led to understand is worth understanding, that students can master the stipulated outcomes from the few inputs provided, and—above all—that learning outcomes can be accurately predicted in linear fashion and assessed with simple rubrics and metrics. It is possible that digital and/or electronic music production might facilitate educational attainment and learning outcomes "in general": however, the matter of the relationship between means and ends—especially, the causal pathways—should be clarified and the caveats noted earlier should be borne in mind.

Hello, Olivier. Yes, I agree about the causal pathways. That's why I also conducted PhD dissertation research on that specific issue and problem. It's easiest to find the pathway if there are obvious intersections among the variables that have comparable empirical instruments, as questionnaires and established testimonials from different demographics. Digital games have demonstrable tangents to learning, stress, and cognitive qualities and can be easily brought into measurable alignment. However, digital music production is even more vague and enigmatic, and one may have to look into some recent developments around neural stimulation to observe certain brain centers being stimulated. Other, more relatable sources, are what has been noted about motivation and gratification--that producing such music effectively without too much expense can stimulate and predispose towards various learning tasks and challenges in general, as completing petty homework and various chores.