Ananay Aguilar (Royal Holloway, University of London): LSO Live: Reassembling Classical Music

Mike Alleyne (Middle Tennessee State University): Fade to Black: Record Production & Cultural Authenticity

Mike Alleyne (Middle Tennessee State University): A Production Case Study of Marvin Gaye’s “Sexual Healing.”

Andy Arthurs (Queensland University of Technology): Supermusic Culture: Production and Reception

Andy Arthurs (Queensland University of Technology): Performance Blue Prints: Has The Recording Become The Blueprint For The Performance? Can A Recording Be In Itself A Performance?

Eddie Ashworth (Ohio University): The Post-Millennium DIY Explosion And Its Effects On Record Production

Eliot Bates, (UC Berkeley/ Istanbul Teknik Universitesi): Studios, arrangement, and the distributed production system of contemporary Turkish music

Michael Bates (University of Sydney): The Representation of Space in Audio and Audiovisual Works.

Andrew Blake (University of Winchester): Towards a Musicology of Early 1960s EMI Recordings Produced by Suvi Raj Grubb

George Brock-Nannestad (Patent Tactics, Denmark): "How Did They Do It? Coaxing, Coaching, and Hoaxing To Record a Performance In the Acoustic Period"

Richard James Burgess (Smithsonian Folkways Records): From Folkways to Smithsonian Folkways: An Entrepreneurial Journey from Individual to Institution.

Jan Butler (Nottingham): The Beach Boys’ Pet Sounds and the musicology of record production

Paul Carr (University of Glamorgan): The Big Note – The Ultimate Gesture: The Incorporation Of Time And Space In Performing, Composing, Arranging And Producing Frank Zappa’s Music



David Carter (Griffith University, Queensland): Well past time: Towards a musicology of audio recording production.

Per Dahl (University of Stavanger): When the performance perforates the idea of a musical work. The transformation of a song by Grieg from the podium to the groove.

Per Dahl (University of Stavanger): When the microphone enhances the intimacy in a German Lied

Anne Danielsen (Oslo University): Technological Mediation and the Musicalization of Reality on Public Enemy’s Fear of a Black Planet

Anne Danielsen (Oslo University): Interaction of rhythm and sound in contemporary dance music

John Dougan (Middle Tennessee State Uni): Objects of Desire: Creating Discourse and Constructing Canons in Blues Record Collecting

Paul Draper (Griffith Uni, Queensland): Encounters: Subdisciplinary Dynamics in Australian Music-making and Recording

Dietmar Elflein (Producer & Studio Owner, Berlin): Preset Authenticity

Ted Fletcher (TFPro, Audio Designer/Manufacturer): Recording In The Real World

Ted Fletcher (TFPro, AirSound, OrbitSound): New Directions in Spatial Recognition

Martha de Francisco (McGill University, Montreal): Music production and advanced recording technology - a musical challenge

Mark Gillespie (Laval University, Quebec): “What’ch You Know About Darkchild?”: Understanding production-signatures through the eyes of competitors

Saurabh Goswami and Dr. Selina Thielemann (Vraja Institute, India): Documentation, preservation, promulgation: goals in recording the traditional musical heritage of Vraja, Northern India

Donald Greig (Professional Singer): ‘Sing To The Mike’: Authenticity And Performance In Early Music Recording

Michael Haas (Independent producer): The Recording Producer As Musicological Filter

Mike Hajimichael (Intercollege, Cyprus): THE DESK, THE GLASS AND THE MIC:  the layers of communication, culture and music production.

Stan Hawkins (Oslo University): “Mentasm” – Tracking Beltram’s  production and the aesthetics of the mix

Mathew Hill (James Cook University, Queensland): Music Analysis and the Challenges Presented by Music Production

Jay Hodgson   (University of Western Ontario): The Time-Lag Accumulator As A Technical Basis For Brian Eno's Large-Scale Ambient Repertoire, 1973-1978

Dennis Howard (University of the West Indies): Dub Production Techniques

Mike Howlett (London College of Music, TVU): Fixing the Volatile -  studio vocal performance techniques.

Mark Irwin (London College of Music, TVU): Distortion and Subjective Audio Quality

Mark Irwin (London College of Music, TVU): ‘Brown shoes don’t make it’…

Mats Johanssen (Oslo University): Recording and Authenticity in contemporary Scandinavian folk music.

Andy Keep (Bath Spa University): Creative Abuse Drives Developments in Record Production!’

Melle Jan Kromhout (Independent Scholas, Amsterdam): As Distant and Close As Can Be. Lo-Fi Recording: Site-Specificity And (In)Authenticity

Tellef Kvifte (Oslo University): On musicological studies of music production - a process oriented approach

Tellef Kvifte (Oslo University): Analog revolution in digital technology

Serge Lacasse (Laval University, Québec): Persona, Emotions And Technology: The Phonographic Staging Of The Popular Music Voice

Colin Lawson (Royal College of Music, London): ‘The Most Original Beethoven Yet Recorded’: Fantasies, Realities And The Microphone

Phillip McIntyre (University of Newcastle, NSW): Songwriting and Studio Practice: The Systems Model of Creativity Applied to ‘Writing Records’.

Kirk McNally (University of Victoria): New tools for use in the musicology of record production

Allan Moore (University of Surrey): Beyond A Musicology Of Production

Gerard Moorey (Bath Spa University): ‘See hear: the Aesthetic Spectacle of Record Production’

Justin Morey (Leeds Metropolitan University): The Death of Sampling – Has litigation destroyed an art form?

Justin Morey (Leeds Metropolitan University): “Breaking the Fourth Wall” – The Effect of Acknowledging the Studio on Staging and Perception.

Carlo Nardi (Trento, Italy & Berlin, Humboldt): Zen in the art of sound engineering

Peter O’Hare (Forth Valley College): Steve Albini “In Utero’s” Ultra-sound Guy

Richard Osborne (London Consortium): The Cylinder vs. The Disk

Andrew Pleffer (Macquarie University, Sydney): “I Put a Spell On You”: “Standards” as a product of recorded music culture

Nick Prior (University of Edinburgh): Ok Computer: Mobility, Performance and the Laptop Producer

Shara Rambarran (Salford University): 99 Problems but Danger Mouse Ain’t One—An insight into the conflicting issues surrounding ‘The Grey Album’

S. Alexander Reed (Williamburg, Virginia): Crowd Noise and the Hyperreal

Steve Savage (San Francisco State University): "Mouth Noises, Lipsmacks, and Heavy Breathing"

Steve Savage (San Francisco State University): “It could have happened” – the evolution of music construction.

Steve Savage (San Francisco State University): The Scrubber Tool: Analog Antecedents in the DAW

Becky Shepherd (University of New South Wales): Representations of sound: The role of production in the artistic formation of sound in popular musical forms

Becky Shepherd (Macquarie University): Production on the Edge of Nostalgia

Tore Simonsen (Norwegian Academy of Music): The Classical Recording as a Work of Phonography

Rupert Till (University of Huddersfield): Mixing experimental and popular musics.

Robert Toft (University of Western Ontario): Rhetorical Criticism and the Creative Process in Songwriting and Recording: Invention and Arrangement in The Guess Who’s ‘Laughing’

Rob Toulson (Anglia Ruskin University): A need for universal definitions of audio terminologies and improved knowledge transfer to the consumer

Dan Turner (University of Glamorgan): Outlining The Fundamental Production Aesthetics Of Commercial Heavy Metal Music Utilising Systematic Empirical Analysis

Mads Walther-Hansen (University of Copenhagen): The Influence of Music Technology on the Perception of the Performer in Phonographic Space

Timothy Warner (Salford University): The Song of the Hydra: multiple lead vocals in modern pop music recordings

Timothy Warner (Salford University): Listening for Phi: Representations of Temporal Proportion in Recordings of Mozart's Piano Sonatas

Pip Williams (London College of Music, TVU): “Lo- Fi vs Hi-Fi: A Symphony In The Potting Shed!?”

Paula Wolfe (Sib Records): A Studio of one’s own

Jenny Woodruff (Duke University): Have you heard, have you heard?: Sound, Sexuality and Missy Elliott’s Public Body

Michael Worthington (Southern Cross University): Contemporary Trends in 5.1 Music Mixing

Simon Zagorski-Thomas (London college of Music, TVU): The US vs. the UK sound: Meaning in music production in the 1970s

Simon Zagorski-Thomas (London College of Music, TVU): Functional Staging Through the Use of Production Techniques in late 20th Century African and Cuban Popular Music Recordings.

Simon Zagorski-Thomas (London College of Music, TVU): Gesturing Producers and Scratching Musicians

Hans Zeiner-Henriksen (Oslo University): The Most Significant Beat - A comparative study of changes in bass drum sounds in dance music from 70s disco to electronic dance music of the 1980s and 1990s.