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ARP 2014 Program

 

Information   Call For Papers   Abstracts

The 9th Art of Record Production Conference:

Record Production in the Internet Age

December 4-6, 2014

University of Oslo

 

Thursday 4 December

 

12.00–14.00

ZEB,

Foyer

REGISTRATION

14.00–15.00

Helga Engs,

Aud. 2

OPENING PANEL: RECORD PRODUCTION IN THE INTERNET AGE

Panel Members: Amanda Bayley, Bath Spa University, Joe Bennett, Bath Spa University, Stan Hawkins, University of Oslo, Arnt Maasø, University of Oslo, Kai Robøle, Waterfall Music, and Paul Théberge, Carleton University. Moderator: Katia Isakoff.

 

15.15–17.15

ZEB

PARALLEL SESSIONS

 

Ownership/Authorship, Salen

Chair: Mats Johansson

Rec. Aesth., Mixing Suite

Chair: William Moylan

Rec. Aesth., Sem. 1

Chair: Mads Walther-Hansen

Transcultural, Sem. 2

Chair: Ons Barnat

Joe Bennett: ‘The Death of the Songwriter: Attribution of creative ownership in popular music production’.

Brecht De Man and Joshua D. Reiss: ‘Analysis of Peer Reviews in Music Production’.

Paula Wolfe: ‘Between the Private and the Public: The artist-producer and hybrids of production practice in the digital era’.

Gayle Murchison: ‘“Bandy Bandy”, Baduism, and Marie Daulne’s Ancestry in Progress’.

Tom Porcello: ‘Joint Authorship, Works-for-Hire, and the Idea/Expression Distinction: The collision of law and practice in popular music recording’.

Mikko Ojanen: ‘Mastering Kurenniemi’s Rules (2012): The role of an audio engineer in the mastering process’.

Adam Harper: ‘“Lo-fi”: The Aestheticisation of Recording Imperfections as Distance from Commercial Production’.

Méi-Ra St-Laurent: Quebec’s Black Metal: Analysis of a phonographic and identitary narrative of a marginal scene’.

Yannick Lapointe: ‘The Art of Record Reproduction: Rethinking high-fidelity’.

Paul Théberge: ‘Click / Beat / Body: The role of the click track in digital music production’.

Isabel Campelo: ‘“That Extra Thing”: The role of session musicians in the recording industry’.

Maria Do Rosário Pestana and Helena Marinho: ‘Invisible Network: The making of the Portuguese popular song’.

Paul Thompson and Phillip McIntyre: ‘Engineering: Creativity and collaboration in the recording studio’.

Gérald Côté and Serge Lacasse: ‘Remixing Quebec Chanson: Singular Aesthetic Discourses through a Common Technological Process’.

Jan-Olof Gullö: ‘Leadership in Music Production in the Internet Age’.

Eirik Askerøi: ‘Transmission: On Difference and Construction in Joy Division’.

 

17.15–17.45

ZEB, Canteen

COFFEE BREAK WITH FOOD

17.45–19.00

Helga Engs, Aud. 2

INDUSTRY KEYNOTE 1: SUSAN ROGERS

 

 

Susan Rogers holds a doctorate in Cognitive Psychology. Her research focuses on auditory memory and the influence of musical training on auditory development. For two decades prior to her science career, Susan was one of the world’s few women working as a record producer, engineer, mixer, and audio electronics technician. Career highlights include 5 years (1983-1988) as staff engineer for Prince; producing diverse artists such as Barenaked Ladies, David Byrne, Geggy Tah, Robben Ford, Jeff Black, and Rusted Root; mixing for an equally eclectic list including Tricky, Michael Penn, Toad the Wet Sprocket, and Tevin Campbell; and engineering for a host more. She is an Associate Professor at Berklee College of Music in the departments of Music Production & Engineering and Liberal Arts, and is the director of the Berklee Music Perception and Cognition Laboratory. In 2012 she was awarded the Distinguished Faculty Award, Professional Writing and Music Technology Division.

19.00–20.30

Helga Engs, Foyer

WELCOME RECEPTION

 

Friday 5 December

 

9.00–9.15

ZEB, Canteen

COFFEE

9.15–10.45

ZEB

PARALLEL SESSIONS

 

Ownership/Authorship, Salen

Chair: Mark Drews

Rec. Aesth., Mixing Suite

Chair: Morten Michelsen

Virtual Archives, Sem. 1

Chair: Gayle Murchison

Transcultural, Sem. 2

Chair: Ons Barnat

Anthony Papavassiliou: ‘Unconsented Contamination: Musical collage as a creative original work’.

John Howland: ‘Teenage Symphonies: The production process of Phil Spector and Jack Nitzsche, and the (Orchestral) Sound of Young America in the Early 1960s’.

Anja Nylund Hagen: ‘The Playlist Experience: Personal playlists in music streaming services’.

John Egenes: ‘Record Production in a Transitional Zone: Three Projects Compared’.

Jamie Wong: ‘Unintentional Singers: Auto-tuning everyday speech on YouTube’.

Francois Ribac: ‘We Can’t Understand Record Production by Looking Only at Record Production or New Technology: The case of The Beatles at Abbey Road’.

Lee Marshall: ‘Streaming Music: Questions of ownership and value’.

Phil Harding: ‘“Stay Another Day”: A music composition and production formula to create a successful Boy Band’.

Jack Harbord and Adam Martin: (Im)possible Performances: The ethics and practicalities of posthumous production practices’.

Martin Knakkergaard: ‘Cruising for Burgers’.

  Mark Slater: ‘What the Project Studio Tells Us About the Poetics of Recorded Music’.

Anthony Meynell: ‘Capturing the Sound of Revolution: Differences in recording techniques between British and American recording studioes in the late 1960s’.

 

11.00–12.00

ZEB

PARALLEL SESSIONS

Rec. Aesth, Salen

Chair: Anne Danielsen

Transcultural, Mixing Suite

(17.00–18.00)

Chair: Mikko Ojanen

Rec. Aesth., Sem. 1

Chair: Francois Ribac

Rec. Aesth., Sem. 2

Chair: Isabel Campelo

 

Serge Lacasse: ‘“A Note All Her Own”: A phonostylistic analysis of Sia’s “Chandelier” (2014)’.

Martin Koszolko: ‘Crowdsourcing, Remixing and Jamming: Contemporary music production practices in the cloud’.

Niall Thomas: ‘How Has the Development of Technology Influenced the Recorded Aesthetics of Heavy Metal Music?’

Asaf Peres: ‘And Sunday Comes Afterwards: A comparative study of sonic narratives in Rebecca Black’s “Friday” and Britney Spears’s “Till the World Ends”’.

 

Nick Braae: ‘The Development of Queen’s “Epic” Sonic Language’.

Alan Williams: ‘Crowdtracking: Authorship in the video composites of Playing for Change and Eric Whitacre’.

Kai Arne Hansen: ‘Fetishizing Sound: Mainstream Pop Production and the Politics of Sexuality’.

Gittit Pearlmutter: ‘Contemporary Production Techniques and Changes in Formal Structures: An analysis of Machine Gun by Portishead’.

12.00–13.15

ZEB,

Canteen

LUNCH WITH CONCERT

Concert from 12.30–13.00 by Trond Engum, Tone Åse, and Carl Haakon Waadeland

13.15–14.15,

Helga Engs, Aud. 2

PANEL: RECORDING AESTHETICS

Panel Members: Amy Blier-Carruthers, Royal Academy of Music, Phil Harding, PJ Music Ltd, Pytten Hundvin, Norwegian Record Producer and Sound Engineer, Serge Lacasse, Université Laval, Susan Rogers, Berklee College of Music, and Simon Zagorski-Thomas, University of West London. Moderator: Alan Williams, University of Massachusetts Lowell.

14.30–15.30

ZEB

PARALLEL SESSIONS

Ownership/Authorship, Salen

Chair: Yngvar Kjus

Rec. Aesth., Mixing Suite

Chair: Helena Marinho

Virtual Archives, Sem. 1

Chair: Brecht De Man

Transcultural, Sem. 2

Chair: Amy Blier-Carruthers

Leslie Meier, Devon Powers, and Bethany Klein: ‘Selling Music and Selling Out’.

Gregory Weinstein: ‘Producing Intimacy: The Curious Case of “Live” Classical Recordings’.

Jocelyne Kiss and Serge Lacasse: ‘From Physical to Discretized Objects: An arborescent conception of the music album’.

Ons Barnat: ‘Nomadic Recording Studio and Participatory Research-Creation: Towards an applied ethnomusicology?’

Matt Brennan: ‘The Disposable Drummer: The marginalisation of live acoustic drum kit and drummers in contemporary record production’.

Amy Blier-Carruthers: ‘From Perfection to Expression: Changing the aesthetic of recording classical music?’

Tracy Redhead: ‘Interactive Music Formats: Will audience interact?’

Nyssim Lefford: ‘The Sound of Coordinated Efforts: Music producers, boundary objects and trading zones’.

15.30–16.00

ZEB, Canteen

COFFEE BREAK

16.00–18.00

Salen

Plenary JAN ERIK KONGSHAUG IN CONVERSATION WITH HANS WEISETHAUNET

 

 

 

Jan Erik Kongshaug is one of the world’s most renowned studio engineers and the owner of Rainbow studio in Oslo. He has recorded more than 700 albums for the label ECM in cooperation with producer Manfred Eicher and has worked with, among others, Keith Jarrett, Chick Corea, Pat Metheny, Dave Holland, Jan Garbarek, Ornette Coleman and Karlheinz Stockhausen.

 

Hans Weisethaunet is Professor at the Department of Musicology, University of Oslo.

 

 

 

 

 

 

 

 

 

 

 

 

 
   

19.30

CONFERENCE DINNER (DOWNTOWN)

 

Saturday 6 December

 

9.00–9.45,

Helga Engs, Aud. 2

ACADEMIC KEYNOTE: SOPHIE STÉVANCE

 

 

 

Sophie Stévance is Professor in musicology at the Faculty of Music, University of Laval, and is head of the Groupe de recherche-création en musique. Her field of study is research-creation in music and she has done research into modernization of Inuit throat-singing (with Tanya Tagaq) and creative processes in music production and new technologies. She is the author of several books, including the recent publications Quand la musique prend corps, with M. Desroches and S. Lacasse (2014), Les Enjeux de la recherche-création en musique: institution, définition, formation, with S. Lacasse (2013) and Musique actuelle (2011) and received awards from The Académie Charles-Cros in 2006 and 2010.

 

9.45–10.30,

Helga Engs, Aud. 2

PANEL: MUSIC PRODUCTION IN A TRANSCULTURAL SPACE

Panel Members: Mats Johansson, University of Oslo, Sophie Stévance, Université Laval, Ashley Stubbert (producer), and Jon Mikkel Broch Ålvik, University of Oslo.Moderator: Stan Hawkins, University of Oslo.

10.30–11.00

ZEB, Canteen

COFFEE BREAK

11.00–12.30

ZEB

PARALLEL SESSIONS

Rec. Aesth., Salen

Chair: Eirik Askerøi

Rec. Aesth. Mixing Suite

Chair: Asaf Peres

Virtual Archives, Sem. 1

Chair: Richard Burgess

Rec. Aesth., Sem. 2

Chair: Nyssim Lefford

Roland Huschner: ‘“What’s Up With This ‘One’?!!” (“Was ist den das für eine, eins’?!!!”): Discrepancies between live- and studio-performance and the consequences for musical efficiency of artists/bands in the recording studio’.

Dragos Chiriac: ‘Mixing and Mastering at the Same Time: A new model for electronic music production’.

Rob Toulson and Jonathan Shakhovskoy: ‘Future Music Formats: Evaluating the “album app”’.

Toby Seay: ‘Record Production Practices Using a Transitional Tape-based Digital Format’.

Yngvar Kjus and Anne Danielsen: ‘Mixing Time: The use of recording technologies in live music performance’.

Andreas Bergsland and Trond Engum: ‘Unheard Sounds: The aesthetics of inaudible sounds made audible’.

Kirk McNally: ‘Music Archives in Higher Education: A case study’.

Paul Harkins: ‘Following the Instruments, Designers, and Users: A conceptual framework for the study of digital sampling technologies’.

Alex Stevenson: ‘Authenticity and the Role of Live Musicians in Hip Hop Production’.

Matthew O’Malley: ‘The Definitive Edition (Digitally Remastered)’.

Iain Findlay-Walsh: ‘Producing the Listener (as) Space: Virtual spaces, reception networks and the listening subject of contemporary pop’. [Stream: Rec. Aesth.]

Patrick Achtelik: ‘What Do We See When We Hear That Sound?’

12.40–14.00

ZEB, Canteen

PLENARY BOOK SESSION WITH LUNCH:

WRITING ON THE ART OF RECORD PRODUCTION

Richard James Burgess, William Moylan, and Simon Zagorski-Thomas present their new book releases.