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Saturday, 25 March 2006

Proceedings  Information

The Proceedings of the 2005 Art of Record Production

Conference

17th - 18th September 2005

University of Westminster, London.

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Click Here For PDF of Program 

 

Mike Alleyne (Middle Tennessee State Uni)
Title: Fade to Black: Record Production & Cultural Authenticity
Abstract        Full Paper


Andy Arthurs (Queenland University of Technology):
Title: Supermusic Culture: Production and Reception
Abstract        Full Paper


Andrew Blake
(University of Winchester)
Towards a musicology of early 1960s EMI recordings produced by Suvi Raj Grubb
Abstract        Full Paper


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


Robert Burnett (Karlstad University Sweden)
Title: The Music Industry and the Production of Culture
Abstract        Full Paper


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


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


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


Tim Day (British Library Sound Archive)
Microphones in quires and places where they sing
Abstract        Full Paper


Nicola Dibben
(Sheffield)
Title: Producing the sound of emotional intimacy
Abstract


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


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


Evan Eisenberg
Unbecoming A Thing: The work of art in the age of digital mutation
Abstract        Full Paper


Dietmar Elflein (Producer & Studio Owner, Berlin)
Title: Preset Authenticity
Abstract        Full Paper


Martha de Francisco (McGill, Montreal)
Title: Music production and advanced recording technology - a musical challenge
Abstract        Full Paper


Simon Frith (Edinburgh)
The myth of the producer
Abstract        Full Paper


Ichiro Fujinaga (McGill, Montreal)
Title: A guideline and a metadata schema for building a global database of music recordings
Abstract        Full Paper


Mark Gillespie (Laval Uni, Quebec)
Title: “WHAT’CH YOU KNOW ABOUT DARKCHILD?”: Understanding production-signatures through the eyes of competitors
Abstract        Full Paper


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


Donald Grieg
‘Sing To The Mike’: Authenticity and performance in early music recording.
Abstract        Full Paper


Michael Haas
The record producer as musicological filter
Abstract        Full Paper


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


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


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


Mike Jarrett
(Pensylvania State)
Title: The Self-Effacing Producer: Absence Summons Presence
Abstract        Full Paper


Mats Johanssen (Oslo)
Title: Recording and Authenticity in contemporary Scandinavian folk music.
Abstract        Full Paper


Andy Keep (Bath Spa)
Title: Creative Abuse Drives Developments in Record Production!’
Abstract        Full Paper


Jason King (NYU)
Title: the metaphysical role of "flow" in contemporary hip hop MC Jay-Z and superproducer Timbaland
Abstract        Full Paper


Tellef Kvifte (Oslo)
Title: On musicological studies of music production - a process oriented approach
Abstract        Full Paper


Serge Lacasse
(Laval)
Persona, emotions and technology: the phonographic staging of the popular music voice
Abstract        Full Paper


Dave Laing (independent scholar, London)
Title: The Producer as ‘Author’
Abstract


Colin Lawson (Royal College of Music)
The most original Beethoven yet recorded: fantasies, realities and the microphone
Abstract        Full Paper


Dr. Nicholas Magriel (SOAS)
Title: The Influence of 78 rpm Records and LPs on the Form, Aesthetics and Ethos of North Indian Classical Music
Abstract        Full Paper


Allan Moore (Surrey)
Beyond a Musicology of Production
Abstract        Full Paper


Virgil Moorefield (Michigan Ann Arbor)
Title: The Art of the Remix: Crossing Cultural Boundaries
Abstract        Full Paper


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


David Patmore (Sheffield & CHARM)
Title: John Culshaw and the recording as art work.
Abstract        Full Paper


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


Paul Ramshaw
(London College of Music, TVU)
Title: Is music production now a composition process?
Abstract        Full Paper


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


Francis Rumsey
(Surrey)
The psychoacoustics of sound quality
Abstract        Full Paper


Steve Savage (San Francisco State)
Title: "Mouth Noises, Lipsmacks, and Heavy Breathing"
Abstract        Full Paper


Paul Theberge
(Carleton University, Ottowa)
“Acoustic choreography”: Glenn Gould’s anti-fidelity as a model for surround mixing
Abstract        Full Paper


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


Tim Warner (Salford University)
Title: The Song of the Hydra: multiple lead vocals in modern pop music recordings
Abstract        Full Paper


Paula Wolfe (Sib Records)
Title: A Studio of one’s own
Abstract        Full Paper


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


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


Albin Zak (Albany University, NY)
Low Fidelity: Sound consciousness and 1950s rock and roll
Abstract        Full Paper



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