To arrive here, we must not assume that our students are "digital natives" who are naturally better at studying and thinking with computational devices than with pen and paper. None of us believes this lazy assumption; some of us actively work against it in our classes. As we will show, we have nonetheless seen outcomes that are educationally remarkable, especially due to the collaborative learning that Mediate enables, when it comes to how digital annotation in Mediate fuels our students' grasp of a range of audiovisual media in medium-specific ways. Often such medium-specificity is tethered to the discipline-specific approaches that we use in our courses, as we chart in the next section. But something interdisciplinary has arisen across our courses too: the cross-disciplinary concept of audiovisualities that this essay advances.
In this volume, Wolfgang Hirschmann proposes an ethnographic approach that contextualizes Bach's works, addressing the aesthetic paths he took as well as those he did not pursue. Steven Zohn's essay considers Telemann's contribution to the orchestral Ouverture genre, observering how Telemann's approach to integrating the national styles of his time was quite different from, but no less rich than, Bach's. Andrew Talle compares settings and strategies of Vergnügte Ruh, beliebte Seelenlust by Bach and Graupner. Alison Dunlop presents valuable primary research on Muffat, the most commonly cited keyboard music composer in Vienna during Bach's lifetime. Finally, Michael Maul sheds new light on the Scheibe-Birnbaum controversy, contextualizing the most famous critique of J. S. Bach's compositional style by discussing the other composers that Scheibe critiqued.
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