Davey will be discussing songwriter identity in the context of optimal distinctiveness theory, and uses this to frame some popular music within the known teen phenomenon of ‘I loved [that band] before they were famous’. He uses the famous example of iMacs that looked like furniture – the novel and the familiar are balanced to create consumer need.
Popular music is perceived to come out of ‘scenes’ – genres, fashions and subcultures – and necessarily has different audiences, who in turn require identity, categorisation and distinctiveness (Zuckerman 2014).
In Davey’s auto-ethnographical research, he has created 4 albums over 8 years; 2 of these gained traction; 2 faded away. He analyses each project according to its distinctiveness, genre, novelty, conformity etc (via the above ODT framework).
We now hear ‘Memory is a Weapon’ (CousteauX, 2017), from Davey’s reboot of his turn-of-the-century band Cousteau. The journalistic feedback and reviews triangulate the product’s perceived distinctiveness. Assimilation (conformity to expectation) is contrasted with Differentiation (challenge to expectation) – for example, the torch singer persona of Cousteau’s work becoming the rogue-ish character of the CousteuX reboot. This is in the lyric mode of address (first person, reflective, confessional). Most of the rest of the album is in the dramatic mode of address (quasi-second person – addressing the audience as if they were present or speaking to somebody else positioning the audience as witness).
The journalistic responses agreed with the intent, reliably highlighting words such as ‘dark’ and ‘brooding’ etc.
I always love to hear Anne speak. Alas, I live-blogged her entire hour-long keynote today, complete with examples, and due to a horrible WordPress browser fail (including no success with autosave reversions) I lost all the text and examples!
So to recreate it from memory, Anne discussed some of the musical characteristics of black popular musics, as articulated by Wilson (1983), and then used these to trace a 50-year timeline of rhythmic accuracy in African-American popular music, particularly focusing on the cusp of digital tools (from early 1980s). Trends were traced, from the quest for super-accurate grooves (e.g. Prince’s Kiss), through the muddying/blurring of the beat (examples include Snoop Dogg, D’Angelo, Destiny’s Child, Tyler The Creator).
For more on this fascinating field, take a look at Anne’s researchgate profile and RITMO/UiO profile, and her various books and publications on micro-rhythm in popular music.
Collective Creativity: A ‘Service’ Model of Contemporary Commercial Pop Music
- Paul Thompson, Leeds Beckett University, UK
- Phil Harding, Leeds Beckett University, UK
Keywords: Creativity, Pop Production, Songwriting
ABSTRACT: A commercial pop music production is rarely the result of a single individual and pop music producers and songwriters are often part of a larger creative collective (Hennion, 1990) in creating a musical product. A team leader typically manages this group activity. That team leader requires an appropriate level of cultural, symbolic and economic capital (Bourdieu, 1984) so they can effectively evaluate the contributions of the rest of the team and guide the project towards commercial success (Thompson & Harding, 2017). This study explores the role of the team leader within the creative production workflow of pop songwriting and production since the 1990s and investigates the ways in which pop songwriting and production teams work within a creative system of pop-music making. Building upon previous studies in this area (Harding and Thompson 2017) the ‘Service Model’ flow system is illustrated with distinct linear stages that include the processes of pop songwriting, pop vocal recording, post vocal production and then mixing. However, within each of these production stages the ‘highly nonlinear dynamics’ (Capra and Luisi, 2014) of the creative system (Csikszentmihalyi; 1988, 1999) can be viewed in action as the team work together to make the pop record. Drawing upon a series of interviews and data gathered during a Practice Based Enquiry (PBE) conducted at Westerdals University in Oslo, this paper presents the pop music ‘Service Model’. Importantly, the model underlines the value of the collective (rather than individual) in the commercial pop songwriting and production process.
This is Phil and Paul’s third presentation about this project (related to Phil’s PhD) – and represents bringing the research up to date by talking about contemporary pop production. For background, you can read about last year’s paper and/or pick up Phil’s book PWL from the Factory Floor.
Franco Fabbri, University of Milan and Conservatorio ‘A.Boito’, Parma
Our opening keynote for the conference is the much-loved Franco Fabbri, a much-celebrated musician, educator and musicologist. I was particularly interested to hear this one, because Franco is talking about Forensic Musicology, and with a particular focus on Italian case law.
Here’s my live-blog of his hour-long talk, with YouTube examples where I could find them:
Plagiarism: Musicology’s Proof of the Pudding
I’m in Huddersfield!
This is, for the first time, a mashup of four popular music research conferences, all hosted here at the University of Huddersfield. These are:
My own solo presentation is about sample detection in methods for plagiarism copyright disputes – more to follow on this when I get it written up, or failing that an abstract and some links.
Bill Brunson, Royal College of Music, Stockholm
[JB note – I type this sitting under the Sound Dome in ‘Lilla Salen’, one of the Royal College’s lecture theatres. It appears to be an array of 13, 8 and 4 speakers arranged in concentric circles above a non-raked 100-ish seater auditorium in a large black box space, with options additional floor-level speakers in a circle. We can also see a big stereo FOH ceiling PA and four subs in the corners of the space. I’m sure we’ll hear more – in both senses of the phrase – soon].
Bill begins with a description of his own background, and like many at ARP he traces his first inspiration back to the moment he first heard the Beatles. He tells stories about his enthusiasm for acquisitiveness in audio, having recently bought three SSL desks after using one for a particular session in an opera house (he notes that, as a Texan, he believes everything should be big).
Kai Arne Hansen: Interpreting Sound Recordings in a Time of Media Convergence: Aesthetics, Technologies, and the Migratory Behavior of Audiences
Abstract: While recent technological developments have led to a range of new possibilities for the recording, production, and distribution of sound recordings, equally significant changes have ensued with regard to audiences’ usages and experiences of music. These changes concern not only how we access and listen to sound recordings, but also how we make sense of them.
In light of what Henry Jenkins (2006) has described as the migratory behavior of media audiences, this paper considers the multi-modality of our present-day music experiences. By attending to the primacy of the artist persona in a contemporary pop music context, I call attention to how sound recordings are interpreted vis-á-vis other pop commodities and discourses surrounding the artist. I suggest that, as the representational strategies that promote and aestheticize the artist persona across multiple platforms become increasingly pervasive and sophisticated, listeners become accustomed to enriching their musical experiences by seeking out additional content and information through various media. By merging recent theories of intermediality and transmediality with a critical musicological approach to interpretation, I attempt to demonstrate how symbols and signs dispersed across multiple media platforms are aggregated in the experiences of listeners and fans. To this end, I focus on the recent output of one commercial pop artist to take up how recorded sound operates alongside other media content to imbue our musical experiences with various meanings.
Kar begins with a statement: present-day modes of consumption are now accessed mainly online, and he cites the recent increase in the proportion of streaming vs other formats, with streaming now being (per RIAA) the dominant distribution medium for music. He cites several scholars who point out that media convergence is not purely a technological defined phenomenon – it is effectively a form of ‘audience migration’.
Tor Halmrast: Sam Phillips: Slap Back Echo, Luckily in Mono
Abstract: “Slap back echo” was created by Sam Phillips for Elvis Presley´s early Memphis recordings. Using cepstrum and autocorrelation, we find that the tape delay used in Sun Studios was 134-137 ms, which is so long that the echo is perceived as a single, distinct echo in the time domain, and not the comb filter coloration of timbre in the frequency domain defined as Box-Klangfarbe. Such coloration would be perceived if a distinct, separate, reflection gave a comb filter with a distance between the teeth (CBTB: Comb-Between-Teeth-Bandwidth) comparable to the critical bandwidth along the basilar membrane in the cochlea. When Elvis changed to RCA Victor´s studio in Nashville, “RCA was anxious to recreate the “slapback” echo…To add them to Elvis’ vocals Chet [Atkins] and engineer Bob Farris created a pseudo “echo chamber” by setting up a speaker at one end of a long hallway and a microphone at the other end and recording the echo live”. Analysis of these recordings gives that the echo is somewhat shorter (114 ms and 82 ms), and much more diffuse, so “slap echo” was not actually recreated. The main findings is that even though the delay time of the Sun Studio “slap tape echo” is long, the echo is still perceived as rather “close”, because the echo is in mono. Panned in stereo, the feeling of being inside a small room would disappear. In addition, we analysed also a shorter delay, as for a possible reflection from the floor of the studio back to the singer´s microphone. These results are more unclear, but we found that such shorter delay would have given Box-Klangfarbe, but if this actually was a floor reflection, the measured deviation of the delay time must mean that the singer moved his head during the recordings (a highly reasonable assumption for Elvis!)
[JB note: Tor’s presentation was outstanding, but it was also extremely technical in terms of physics and data, so I’m not sure I fully did it justice with this live blog post. With this limitation in mind, I’ve posted several of his slides to help the more technical reader].
Tor begins (after a disclaimer that he is not an Elvis fan) with some background about Sun Studios and their recording environment, and some technical analyses of slapback parameters – comb filtering, phase, delay and frequency. We hear the delay from Heartbreak Hotel, leading into a more detailed discussion of how a very short delay creates comb filtering. If you are 1.751m from a wall, ou get a time delay of 10ms, and a Comb Between Teaath Bandwidth (CBTB) of 100Hz. Importantly it is not possible to get rif of this effect with EQ. So if you put a source/mic this close to a wall you will hear this artefact.
Alex Case: Oops, Do It Again – Gated Reverb From the 80s to Today
Abstract: Among the more absurd sonic concoctions to come out of the recording studio, gated reverb offers a unique aesthetic possible only through loudspeaker-mediated sound. Born in the 80s, it relied upon creative, even counterintuitive application of some of the newest signal processing technologies of the time. The genesis of gated reverb was part discovery, and part invention. Its further development was motivated by rebellion, and confusion. Peter Gabriel did it first, with “Intruder” (1980). Phil Collins made it famous, with “In the Air Tonight” (1980). But David Bowie likely inspired it all with tracks like “Sound and Vision” (1977). This paper tours the development of gated reverb, with audio illustrations showing when, how, and why. What began as a radical reshaping of timbre has evolved into a more subtle form. Gated reverb remains relevant in contemporary music production, not just for 80s pastiche, but as a tool for overcoming masking through the strategic leveraging of its unique psychoacoustic properties.
We begin with the world’s most famous example of gated reverb – the drum fill from ‘In The Air Tonight” and Alex comments… “Before texting, this is what caused cars to swerve”. We then look a signal path diagram and see transient images describing the dynamic properties of a compressed and gated reverb.
Stereo to 5.1–Creating an Immersive fold-out
Paul Novotny, York University, Toronto
Abstract: Look Ahead is a jazz piano and bass, duo recording of performance-music, tracked, mixed and mastered at 24 bit/96khz for stereo and 5.1 playback. Esoteric microphones and pre-amps contributed tonal diversity and contrary to standard practice, the stereo mix was folded-out to 5.1, rather than folded-down to stereo. It was pre-determined that a “sympathetic openness” in the playing and sound was a desirable aesthetic, thus the “performance oriented” physical setup was a blending of the traditional Oscar Peterson and modern Keith Jarrett piano/bass set ups. These choices set forth a coherent foundation toward an intimate, immersive and dynamic performance recording. The stereo sound-field begins at the phantom center position of bass and the 5,1 mix builds outward, maintaining a natural coherence between both versions. The upright bass was recorded with a carefully centered stereo ribbon microphone, a mono hyper-cardioid condenser and a “DI”— the piano utilized two outside mics (U87’s), providing a cohesive center image that is blended into an inside-placed “ultra-wide-stereo” Calrec-Soundfield mic, limited to approximately 90% of pan-width, reserving the outer L/R edges for reflections and reverb. Multiple reverbs were mixed and panned to avoid a dead-spot between the R-RS and the L-LS. Since there are no drums this “chamber” became a featured participant of the ensemble, providing unexpected and contrasting responses to percussive attacks.
The conclusion asserts that a stereo sound stage built on traditional performance and recording values provide a connecting foundational coherence when folding-out. A stereo to 5.1 fold-out, rather than a “5.1 fold-down”, offers additional immersive enhancement—specific to 5.1—resulting in diverse custom masters that share strong foundational innate commonality.
Paul begins with an anecdote of the first time he ever heard surround sound at a live performance, and he recounts the experience of looking for a sense of ‘ensemble’ when hearing early surround mixes. His creative goal with this project was to discover what his own music might sound like engineered properly in 5:1, and, as a researcher, to undertake a comprehensive autoethnographic case study and document the process.
Differences and Similarities in the Creative Agency of Producers of Pop, Rock and Classical Music
Tuomas Auvinen, University of Turku
Abstract: In my presentation, I will explore differences and similarities in the creative agency of the producer in the production process of urban pop music produced in a home studio, rock music produced in a conventional studio facility and classical concert hall music produced in a concert hall setting. Starting from the premise of record production being a collaborative effort, I approach agency as the capacity to make and effect decisions within a structure or even to alter it to some extent, and creativity as contributing to the domain of existing works through exercising aesthetic decision-making. Based on these understandings of agency and creativity, I will examine how different cultures in different production settings and different studios conceived as cultural spaces affect the construction of the producer’s agency within creative communities in the production process. Furthermore, I will discuss how differences in understandings of the ontology of the music contribute to the level of creativity, i.e. the contribution to the domain of existing works, that a producer agent can possess. I base my presentation on extensive ethnographic fieldwork of three case studies on production processes, which took place in the course of 2015-2017. The presentation will summarize and discuss some of the central findings of my forthcoming PhD dissertation. This presentation is intended to be in the short presentation format.
Tuomas’s PhD research, which is nearing completion this year, relates to music producers – what kind of creative agents are they, and how is creative agency formed in production environments?
Phil Harding & Paul Thompson: Collective Creativity in Commercial Pop Music Production: A Service Model
Abstract: In his introduction to The Art of Record Production: An Introductory Reader for a New Academic Field (Frith & Zagorski-Thomas, 2012), Simon Frith proposed that producers in pop and dance music genres have a significantly different role to music producers in other music genres such as rock. A prominent difference is that pop music producers are often part of a production team that involves direct collaboration and participation with songwriters, programmers, musicians, artists, management and record company representatives. Pop music songwriting and production teams are therefore more frequently part of a larger creative collective (Hennion, 1990) in creating a musical product. The following paper describes the creative production workflow system at Pete Waterman Ltd. (PWL) Studios during the 1980s and investigates the way in which Phil Harding and Ian Curnow (P&E) worked with manager and entrepreneur, Tom Watkins in the 1990s. Drawing upon a series of interviews and data gathered during an extended ethnographic and auto ethnographic study, this paper presents the pop music ‘service’ model, which underlines collectivist rather than individualist thinking and illustrates how evaluation is present (and co-current) at the ideation stage in the generation of creative ideas (Sawyer, 2003) at various stages of the commercial pop songwriting and production process.
Phil begins with his personal bio, as a producer-engineer with (PWL) Stock, Aitken and Waterman in the 1980s and 1990s, and uses this as context for Paul’s description of this research, which deals with pop production and agency. This area, he says, is relatively underpresented in musicology research. He references Bourdieu’s concept of cultural capital and Csikszentmihalyi’s Systems Model [JB comment – IMO this is particularly applicable to pop, given the market forces acting on creators]. Paul also cites Susan Kerrigan’s 2013 adaptation of Csikszentmihalyi’s Systems Model to be more applicable to a wider range of creative systems.
The producer’s vision: A study into the multi- faceted cognitive design of the popular music recording aesthetic
Brendan Anthony, Griffith University
Abstract: Research into popular music record production and its associated creative practice has highlighted that a song’s production is often influenced by a multitude of stimuli and these can be musically, sonically and socio-culturally diverse. Technology’s influence on musical aesthetics is also at the forefront of scholarly investigations because the democratization of recording technology suggests that the musical spaces producers operate in have changed. Artistic direction however, is still the producer’s responsibility and the current landscape for record production is filled with a multitude of creative practice options that shape the recording aesthetic. These can include live or overdubbed performances and electronic programming versus acoustic instrumentation and when combined with technological choices these decisions ultimately frame the creative stages of pre-production, recording, and mixing. So how does the producer ensure a production process that engages appropriate influences, and subsequently manifests a suitable musical result?
This paper theorizes that the producer’s vision is the constant underpinning of the production rationale and therefore this subsequently designs the recording process and affects musical and sonic aesthetics. It is here that the producer uses multi-modal perception to target genre related outcomes of musicality and the sonic palate, and nurture the capturing of appropriate performances. However the paper argues that this cognitive vision is an individualised trait that is inspired by a ‘field of knowledge’ from which producers innovate. This paper reports on a qualitative investigation into the producer’s vision via a survey of five producers whose experience range from national success in Australia to international acclaim. The paper demonstrates how the data analysis unpacks the discourse surrounding the producer’s vision and is supported by research from the fields of creativity, musicology and popular music production.
Brendan begins by siting his personal research within the producer’s ‘vision’, and he opens with a clip from the movie Begin Again, which describes the producer’s thoughts as he hears a low-key live performance and mentally adds instruments.
For the first time ever, this ARP opens with a rather lovely piano recital by our hosts, which serves as a (surprisingly romantic) introduction to our keynote speaker, Swedish producer Bernard Löhr (discog).
Bernard greets us by noting that he has two great interests – recording music, and cars. He promises to focus on music today, and talk about cars only if time allows!
Welcome to Sweden! For the next three days I’ll be at the Royal College of Music in Stockholm, which is hosting the 12th Art of Record Production conference. As before there will be live blogs from some of the sessions, and I’ll be presenting my own paper later today. More to follow – see #arp hastag.
Amateur Recordings and The Ghost Producer : Beyond the Technical Interventions of the Sound Engineer
ABSTRACT: Phil Spector’s ‘Wall of Sound’, George Martin as the « Fifth Beatle », Teo Macero and the bonding of solo takes. The years go and the myths remain the same. Largely borne by a wind of romanticism, the record producer is often described as this « mixing hero » who could transform any uninspired composition into a classic that will be sung by a whole generation. If this paradigm of the record producer makes the amateur musicians who want to reify their creations dream, this utopian representation of the recording process quickly encounters a more pragmatic reality. Generally prohibitively expensive, the services of such producers are most of the time inaccessible for artists who aren’t financially helped by record labels. Consequently, a majority of amateur recordings are made in the context of the home studio, or within professional studios where the personal is a priori exclusively employed to be responsible for technical tasks.
Focusing on this latter situation, I will base my presentation on an ethnographic study to explain how the « function » of the record producer stays omnipresent in an amateur session despite the fact that the « profession » of the record producer is neither explicitly neither contractually embodied by the studio personal. Linking audio takes with oral exchanges that occured during the session, I will show that the amateur studio experience and its common one-personal-team organization incite the sound engineer to constantly overstep his initial technical functions, being thus a new mediation in which the ghost of the record producer will express.
On the basis of this specific study case, I’ll more globally try to highlight the increasing porosity between the producer and the sound engineer that, blurring all the past rigorous conceptual boundaries, is being to generate a new paradigm of music production.
MOOCs, online learning and the disruption of traditional education
Hans T. Zeiner Henriksen, University of Oslo
ABSTRACT: Many large global industries have the last decade experienced major challenges in their way of operating caused by various forms of digitalization. Uber, Instagram, YouTube, iTunes and Spotify are all distributors of products and services that provide easy and inexpensive access to products and services without really producing anything themselves. In higher education business as usual is the general tendency, but the concern of new developments is starting to spread. Coursera, Udacity, edX and many others provide courses of high quality that reaches many students across the globe.
Music production courses are popular and are provided by several of these distributors (ex.: Introduction to Music Production from Berklee at Coursera). The Department of Musicology, in cooperation with the Department of Educational Technology, launched the first self-made MOOC at the University of Oslo via the virtual learning platform at FutureLearn for the first time in Febraury-March this year. It will be launched again in September- October, then in connection with an on-campus Bachelor course. In this presentation the future of traditional education will be discussed on the basis of our experience from producing and running a MOOC.
Hans begins with a description of MOOCs and an overview of providers via Coursera and EDx, focussing on Berklee’s Music Production courses – we see Prince Charles Alexander’s course as an example.
Record Production and Narrative Meaning: Two Recordings of Camel’s The Snow Goose (1975, 2013)
Ryan Blakeley, University of Ottawa
ABSTRACT: British progressive rock band Camel’s third studio record, Music Inspired by the Snow Goose (1975), is an instrumental narrative concept album that musically mirrors the story of author Paul Gallico’s novella The Snow Goose (1941). Despite the absence of lyrics, the band implement a number of strategies throughout the album to effectively convey a cohesive narrative; these include the use of paratexts, recurring musical material, the musical representation of events and emotions, as well as segues between the tracks. In 2013, nearly forty years after the album’s original release, Camel re-recorded The Snow Goose from scratch; while relatively faithful to the original record, this version features changes to orchestration, extensions to certain tracks, and a vast difference in production values.
In this paper, adopting a hermeneutic approach and drawing upon the work of Simon Zagorski- Thomas (2014) on meaning in record production, I interpret how certain aspects of the The Snow Goose’s production afford meaning to the music and investigate how these meanings may differ between the two recordings. Further, I conduct a comparative analysis of these two recordings of The Snow Goose in order to explore differences in production that largely arise due to technological advancements. Ultimately this paper seeks to not only indicate some significant changes in the record production process over a nearly forty-year timespan, but also to demonstrate how the production process itself can play a key role in providing narrative meaning to – and ultimately enriching – an instrumental popular music album.
Zagorski-Thomas, Simon. The Musicology of Record Production. Cambridge: Cambridge University Press, 2014.
Ryan’s categorises two types of concept album – connected narratives around a concept (e.g. Woody Guthrie) and specific linear narratives (e.g. Pink Floyd’s The Wall). The Snow Goose is the latter category – it tells the story of Paul Gallico’s 1941 novella.