DAW-Based Beatmaking Creative Process: Literature Review with Guilford Indicators
DOI:
https://doi.org/10.33394/jp.v13i1.19058Keywords:
Beatmaking, Digital Audio Workstation, Rhythmic Creativity, Music Education, Guilford, Music arts College educationAbstract
This study aims to map rhythmic creativity in Digital Audio Workstation (DAW)–based beatmaking using Guilford’s indicators of creativity—fluency, flexibility, originality, and elaboration—as the primary analytical framework. In higher education in music arts, these indicators are employed as an analytical lens to examine how rhythmic ideas are generated, varied, refined, and expanded during the DAW-based beatmaking process. The study adopted a directed literature review method with thematic synthesis, analyzing 40 open-access sources published between 2017 and 2025 and retrieved through database searches (e.g., DOAJ and Google Scholar) and manual reference list screening. All included sources were peer-reviewed and assigned Digital Object Identifiers (DOIs). The literature was organized into thematic clusters, including DAW pedagogy, beatmaking practices, divergent thinking and musical creativity, digital collaboration, and critiques of technology and artificial intelligence in music production. Rhythmic elements—such as patterns, grooves, accents, subdivisions, swing, microtiming, transitions, arrangement, and energy automation—were subsequently mapped onto the four creativity indicators. The findings indicate that DAWs strongly facilitate rapid idea prototyping and iterative refinement, making fluency and elaboration the most prominent creativity indicators. In contrast, flexibility and originality appear to be more contingent on task design, learners’ willingness to shift compositional strategies, negotiation with genre conventions, and the broader collaborative and technological ecosystem, including templates, presets, and AI-assisted tools. This study provides a conceptual mapping framework and illustrative assessment directions to assist lecturers in interpreting DAW project artifacts as evidence of rhythmic creative processes. In the context of music arts higher education, the proposed mapping offers a reference for designing DAW-based composition tasks and developing more consistent and transparent assessment criteria for rhythmic creativity across the four Guilford indicators. Future research is recommended to empirically test this framework through the analysis of student-produced DAW artifacts.
References
Addessi, A. R. (2020). A Device for Children’s Instrumental Creativity and Learning: An Overview of the MIROR Platform. Frontiers in Psychology, 11. https://doi.org/10.3389/fpsyg.2020.516478
Alkaei, Z., & Küssner, M. B. (2021). Taqsīm as a Creative Musical Process in Arabic Music. Frontiers in Psychology, 12. https://doi.org/10.3389/fpsyg.2021.640409
Andriyanto, R. M. A. (2020). Peningkatan Kompetensi Mahasiswa Teknologi Musik Melalui Penerapan Pembelajaran Software Digital Audio Workstation. Grenek Music Journal, 9(2), 15–28. https://doi.org/10.24114/grenek.v9i2.19392
Andriyanto, R. M. A. (2021). Proses Produksi Audio Pada Konser Virtual “Colorchestra” Batavia Chamber Orchestra Menggunakan Software Digital Audio Workstation Logic Pro. Imaji, 19(2), 143–161. https://doi.org/10.21831/imaji.v19i2.44854
Asplund, J. (2022). Compositionism and digital music composition education. Journal for Research in Arts and Sports Education, 6(3), 96–120. https://doi.org/10.23865/jased.v6.3578
Avdeeff, M. (2019). Artificial Intelligence & Popular Music: SKYGGE, Flow Machines, and the Audio Uncanny Valley. Arts, 8(4), 130. https://doi.org/10.3390/arts8040130
Baratè, A., Ludovico, L. A., & Presti, G. (2022). A Collaborative Digital Audio Workstation for Young Learners. International Conference on Computer Supported Education, CSEDU - Proceedings, 1, 458–464. https://doi.org/10.5220/0011135100003182
Benedict, C., & O’Leary, J. (2019). Reconceptualizing “Music Making:” Music Technology and Freedom in the Age of Neoliberalism. Action, Criticism, and Theory for Music Education, 18(1), 26–43. https://doi.org/10.22176/act18.1.26
Bishop, L. (2018). Collaborative musical creativity: How ensembles coordinate spontaneity. In Frontiers in Psychology (Vol. 9, Issue JUL). Frontiers Media S.A. https://doi.org/10.3389/fpsyg.2018.01285
Cipta, F. (2021). Digital Audio Workstation in Music Self-Learning (A Design Based Research). Advances in Social Science, Education and Humanities Research, 519, 208–212. https://doi.org/10.2991/assehr.k.210203.044
Cipta, F., Masunah, J., & Milyartini, R. (2024). Use of ICT as a Music Teaching Material Development Tool (pp. 585–597). https://doi.org/10.2991/978-2-38476-100-5_74
Crooke, A. H. D. (2018). Music Technology and the Hip Hop Beat Making Tradition: A History and Typology of Equipment for Music Therapy. Voices: A World Forum for Music Therapy, 18(2). https://doi.org/10.15845/voices.v18i2.996
Cuenca-Rodríguez, M. E., Pascual-Moltó, I., & Pastor-Prada, R. (2025). Tecnologías digitales en la educación musical. El uso de Estaciones de Trabajo de Audio Digital (DAW) con Aprendizaje Basado en Proyectos (ABP). Revista Latinoamericana de Tecnología Educativa - RELATEC, 24(1), 101–117. https://doi.org/10.17398/1695-288x.24.1.101
Deluxe, S., & Kautny, O. (2024). Urgency. […] It’s so much more than just interest or passion! On learning and teaching in hip-hop. In It’s how you flip it: Multiple perspective on hip-hop and music educations (pp. 71–80). transcript Verlag. https://doi.org/10.14361/9783839466674-005
Després, J. P., & Dubé, F. (2020). The Music Learner Voice: A Systematic Literature Review and Framework. In Frontiers in Education (Vol. 5). Frontiers Media S.A. https://doi.org/10.3389/feduc.2020.00119
Fanchamps, N., Van Gool, E., Folkertsma, A., & De Meyst, K. (2024). The Influence of Music Producing and Creativity on Computational Thinking in Primary School Children. Education Sciences, 14(12). https://doi.org/10.3390/educsci14121380
Fritz, T. H., Montgomery, M. A., Busch, E., Schneider, L., & Villringer, A. (2020). Increasing Divergent Thinking Capabilities With Music-Feedback Exercise. Frontiers in Psychology, 11. https://doi.org/10.3389/fpsyg.2020.578979
Gerwig, A., Miroshnik, K., Forthmann, B., Benedek, M., Karwowski, M., & Holling, H. (2021). The relationship between intelligence and divergent thinking—a meta-analytic update. Journal of Intelligence, 9(2). https://doi.org/10.3390/JINTELLIGENCE9020023
Huovinen, E. (2021). Theories of Creativity in Music: Students’ Theory Appraisal and Argumentation. Frontiers in Psychology, 12, 1–22. https://doi.org/10.3389/fpsyg.2021.612739
Jaohari, E. J., Karyono, T., Sukmayadi, Y., & Purwanto, A. (2025). Preferensi Digital Audio Workstation (DAW) dan Pengaruhnya Terhadap Gaya Estetika Mahasiswa Minat Studi Musik Teknologi. Jurnal Citra Pendidikan, 5(2), 114–128. https://doi.org/10.38048/jcp.v5i2.5425
Laato, S., Laine, T., & Sutinen, E. (2019). Affordances of music composing software for learning mathematics at primary schools. Research in Learning Technology, 27(0), 1–23. https://doi.org/10.25304/rlt.v27.2259
Lansing-Stoeffler, K., & Daley, N. (2023). Navigating the Spectrum of Conventionality: Toward a New Model of Creative Thinking. Journal of Intelligence, 11(2), 2–17. https://doi.org/10.3390/jintelligence11020021
Livingston, D. A. (2024). “I’ma put the lil homies on next”: mixtape methodology and mapping Black men’s college experiences. Frontiers in Education, 8, 1186606. https://doi.org/10.3389/feduc.2023.1186606
López Martínez, O., Lorca Garrido, A. J., & de Vicente-Yagüe Jara, M. I. (2024). Indicators of verbal creative thinking: results of a Delphi panel. Frontiers in Psychology, 15, 1397861. https://doi.org/10.3389/fpsyg.2024.1397861
Macrides, E., & Angeli, C. (2020). Music Cognition and Affect in the Design of Technology-Enhanced Music Lessons. Frontiers in Education, 5. https://doi.org/10.3389/feduc.2020.518209
Merchán Sánchez-Jara, J. F., González Gutiérrez, S., Cruz Rodríguez, J., & Syroyid Syroyid, B. (2024). Artificial Intelligence-Assisted Music Education: A Critical Synthesis of Challenges and Opportunities. Education Sciences, 14(11), 10. https://doi.org/10.3390/educsci14111171
Merchán-Sánchez-Jara, J. F., & González-Gutiérrez, S. (2023). Collaborative Composition and Urban Popular Music in Digital Music Didactics. Education Sciences, 13(8). https://doi.org/10.3390/educsci13080771
Munn, Z., Peters, M. D. J., Stern, C., Tufanaru, C., McArthur, A., & Aromataris, E. (2018). Systematic review or scoping review? Guidance for authors when choosing between a systematic or scoping review approach. BMC Medical Research Methodology, 18(1). https://doi.org/10.1186/s12874-018-0611-x
Ng, J., & Gamble, S. (2022). Hip-hop producer-hosts, beat battles, and online music production communities on Twitch. First Monday. https://doi.org/10.5210/fm.v27i6.12338
Palioura, M., & Dimoulas, C. (2022). Digital Storytelling in Education: A Transmedia Integration Approach for the Non-Developers. Education Sciences, 12(8). https://doi.org/10.3390/educsci12080559
Pambayun, W. T. (2022). PEMANFAATAN AUDIO RECORDING EQUIPMENT DALAM PEMBELAJARAN PRAKTIK INSTRUMEN REBAB, KENDANG DAN GENDER. Keteg : Jurnal Pengetahuan, Pemikiran Dan Kajian Tentang Bunyi, 21(2), 225–241. https://doi.org/10.33153/keteg.v21i2.4119
Pierard, T., & Lines, D. (2022). A constructivist approach to music education with DAWs. Teachers and Curriculum, 22(2), 135–145. https://doi.org/10.15663/tandc.v22i2.406
Podlipniak, P. (2021). The Role of Canalization and Plasticity in the Evolution of Musical Creativity. Frontiers in Neuroscience, 15. https://doi.org/10.3389/fnins.2021.607887
Ritter, S. M., & Ferguson, S. (2017). Happy creativity: Listening to happy music facilitates divergent thinking. PLoS ONE, 12(9). https://doi.org/10.1371/journal.pone.0182210
Saputra, D. N., Cahyono, A., Utomo, U., Raharjo, E., & Nainggolan, O. T. P. (2024). Integrating Tradition and Technology: Digital Audio Workstation-Based Learning for Traditional Music Preservation. Resital, 25(2), 321–337. https://doi.org/10.24821/resital.v25i2.13913
Schiavio, A., Bashwiner, D. M., & Jung, R. E. (2021). Editorial: What Is Musical Creativity? Interdisciplinary Dialogues and Approaches. In Frontiers in Psychology (Vol. 12, pp. 1–4). Frontiers Media S.A. https://doi.org/10.3389/fpsyg.2021.796096
Schiavio, A., Witek, M. A. G., & Stupacher, J. (2023). Meaning-making and creativity in musical entrainment. Frontiers in Psychology, 14. https://doi.org/10.3389/fpsyg.2023.1326773
Sembiring, P., Sukmayadi, Y., & Sunaryo, A. (2025). Collaborative Music Learning : Utilizing n-Track Application in Private Music Education. Jurnal Kependidikan: Jurnal Hasil Penelitian Dan Kajian Kepustakaan Di Bidang Pendidikan, Pengajaran Dan Pembelajaran, 11(2), 679. https://doi.org/10.33394/jk.v11i2.15002
Song, B., & Chen, J. (2017). On Digital Technology and Music Education. Advances in Social Science, Education and Humanities Research (ASSEHR) Volume 119, 562–566. https://doi.org/10.2991/essaeme-17.2017.113
Thomas, J., & Harden, A. (2008). Methods for the thematic synthesis of qualitative research in systematic reviews. BMC Medical Research Methodology, 8. https://doi.org/10.1186/1471-2288-8-45
Weiss, S., & Wilhelm, O. (2022). Is Flexibility More than Fluency and Originality? Journal of Intelligence, 10(4), 2–16. https://doi.org/10.3390/jintelligence10040096
Yang, X., & Li, Y. (2025). Long-term intervention through online courses in music education: Impact on assessment, performance, creativity, and musical culture. Acta Psychologica, 259. https://doi.org/10.1016/j.actpsy.2025.105363
Published
How to Cite
Issue
Section
Citation Check
License
Copyright (c) 2026 The Author(s)
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
License and Publishing Agreement
In submitting the manuscript to the journal, the authors certify that:
- They are authorized by their co-authors to enter into these arrangements.
- The work described has not been formally published before, except in the form of an abstract or as part of a published lecture, review, thesis, or overlay journal.
- That it is not under consideration for publication elsewhere,
- That its publication has been approved by all the author(s) and by the responsible authorities tacitly or explicitly of the institutes where the work has been carried out.
- They secure the right to reproduce any material that has already been published or copyrighted elsewhere.
- They agree to the following license and publishing agreement.
Copyright
Authors who publish with Jurnal Paedagogy agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
Licensing for Data Publication
-
Open Data Commons Attribution License, http://www.opendatacommons.org/licenses/by/1.0/ (default)
