Change
and Continuity: transformations, innovations and tensions in the
art
of record production
The theme of the
conference is centred around the idea of change and continuity - the idea that
music and music production can look backwards or it can look forwards. The way
our 'art' changes through technology and the use of technology is an example of
where people make choices between, for instance, old technology and new
technology - between old sounds and new sounds, while continually exploring the
space in between these two theoretical poles. In addition, we see innovation all
around us but we might also reflect on what is new. There are also tensions in
our field between technology, artistry, craftsmanship, aesthetics, and
commerce. We hope that the strands will allow the conference to consider change
and continuity in the art of record production.
We invite submissions for
papers on the following themes and any other related topics:
1.
Alternative realities: (re)presenting sound
The recorded performance is often not the performance heard in the
studio, which brings into question aspects of reality and the construction of
what might be conceptualised as alternative realities. The creation of virtual
spaces, the use of virtual instruments and the construction of virtual
performances raise a number of issues for those concerned with the study of
recordings and the production process. This stream welcomes papers that explore
the relationship between the actual and the virtual, which may include
theoretical issues such as authenticity, agency and creativity, transparency
and realism but may also involve practical concerns such as loudness, technical
‘perfection’ and the homogenising effect of ubiquitous software platforms and
plug-ins.
2. Song writing
and the studio: crafting an art
Song writing has a long tradition, and the advent of recording
technology began a process which brings not only the song but the sound of the
artist within reach of international audiences. However, song writing is an
umbrella term encompassing a wide range of technological practices ranging from
singer songwriters recording at home to large scale commercial productions
involving a team of experienced professionals. This stream welcomes papers on
all aspects of the relationship between song writing and production including
demo production, writing in the studio, the influence of software design, song writing
and performance, self production, deals and splits.
3. Music
production and education - a site of resistance?
Music Technology has now become
firmly embedded in educational institutions both in the UK and abroad. With
many institutions having over 20 years experience in developing courses in
music technology it may be time to reflect on our achievements and our
challenges. For many, the initial introduction of courses in record production
and music technology was met with resistance in institutions with many courses
springing not from music departments but from schools of technology. From a
different perspective, traditional genres of engagement with music technology
such as rock and dance have an ideological perspective characterised by
resistance to authority, and the embodiment of the ‘underground’. Papers in
this stream may also consider issues such as the way that creating a curriculum
contributes to creating a canon, ethnicity, sexuality and gender in music
technology programmes, learning strategies and methodologies and the various
tensions and relationships that exist between education, academic research and
industry.
4.
Electronic technology and the production of music
Alongside the history of research and development in electronic
technology for audio production runs a parallel history of subversion and
‘creative abuse’. Many of the techniques used in commercial and popular music
production started life in university departments or in the world of art music.
And there is also the history of DJ technology in the studio. This stream
welcomes papers that explore the range of creative methods used in electronic
and electroacoustic music. This may also include the use of older technology,
internet performance, virtual scenes, democratisation and audio fidelity, the
inside / outside the box debate, the commodification of production technology
and the modular DIY construction of DSP and plug-ins.
Workshops, Presentations and Performances
The conference panel would like to
invite delegates to submit ideas for presentations exploring aspects of music
production, performances and practical demonstrations on any topic relating to
the Art of Record Production.
We welcome work from any relevant academic
perspective, including but not limited to popular music studies,
ethnomusicology, the study of performance practice, communication studies,
historical musicology, the history of technology, ergonomics, acoustics and
psychoacoustics, music theory, music cognition, music and music technology
education, and the philosophies of music, mediation and technology. Please
include a note on methodology where appropriate, and an indication of the theme
your work is intending to address.
Papers or demonstrations that require recording
/ studio / 5.1 playback facilities are also encouraged but selection will be
subject to a feasibility study by the conference panel at Leeds Metropolitan
University.
