Art of Record Production 2015

Drexel University, Philadelphia, venue for th e2015 Art of Record Production Conference.

Drexel University, Philadelphia, venue for the 2015 Art of Record Production Conference.

I’m here in Philadelphia at the #ARP2015 conference. There are four conference tracks and around 100 papers. The tracks are:

  1. Agency: Content Creators in Record Production.
  2. Multi-Polarities: Contextualising the Art of Record Production.
  3. Education: Connecting Research to Practical Education.
  4. Ten Years On: The Art of Record Production.

I’ll be presenting a paper on Sunday with Jon-Marius Aareskjold (University of The Arctic, Norway) about creative collaboration in Beyoncé’s Irreplaceable – more on that in a later post.

As before with previous ARP conferences these blog entries will provide abstracts for each paper and a live blog summary of each presentation. 

Mixing Time… recording technologies in live music performance #arpOslo2014

Mixing Time: The Use of Recording Technologies in Live Music Performance

Yngvar Kjus and Anne Danielsen, University of Oslo

Hanne Hukkelberg

Author keywords:      Recording Techniques, Live Performance, Creativity, Communication

ABSTRACT: Along with the rise of computer-based music technologies, artists are bringing studio-related practices on stage. This allows different forms of composing, recording and sound processing to become integral elements of live music. In this paper, we study the considerations, efforts and skills involved with using these studio-related techniques in live settings, and ask how artists’ sense of creativity and communication are affected. The paper assesses existing research on the use of technologies in live music performance and attempts to establish a theoretical framework for studying evolving creative and communicative challenges of contemporary musicianship. We then present an interview-study with six artists in Norway, engaged in genres ranging from electronic dance music and electro-pop to improvisation-based live electronics. The analysis is organized in the same manner as concerts, starting with the preparations and then addressing the execution and the encounter with the audience. We identify substantial differences in the use of technology, particularly depending on whether performances are based on a studio work or are improvised live. The first requires transforming a record into a live performance, whereas the second entails the creation and manipulation of recordings on the spot. These endeavours demand different practical, creative and expressive efforts, which might fuel artists’ awareness of creative and communicative actions in live performance.

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