Proceedings  Information

The Proceedings of the 2005 Art of Record Production

Conference

17th - 18th September 2005

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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