Abstract

 
 
 A field study carried out in the studios of some fifteen Senegalese beatmakers revealed the omnipresence of discourses linked to self-training to explain the ways in which they acquire the digital audio knowledge on which their creative practices are based. However, most of the time, this self-taught learning corresponds to situations where neither the learners nor the trainers recognize the formative nature of learning situations that actually take place. This article examines these processes in detail, in order to identify the types of learning that take place, and the types of knowledge that are transmitted. 
 
 
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