O’GRADY, PAT (Macquarie University)
Passive Studio-based Songwriting
[abstract] Studio-based composition is the use of a studio environment and associated recording technology to compose a piece of music. Brian Wilson and Brian Eno exemplify this process, where structure, timbre and textures are altered – sometimes drastically – by recording technology. This paper will examine “passive” use of recording technology for songwriting. By passive, I mean uses of equipment and studio production processes that, although creatively important, do not obviously alter the sonic aesthetic of the finished work. This paper seeks to broaden the concept of studio-based songwriting and composition.
A number of scholars have pointed out the importance of studio work to creative product. Cunningham describes Wilson as conceptualizing the studio as an instrument like a piano or guitar (1998, p. 75-76). Moorefield states that for Eno “what is being made is not a replication or extension of a concert experience, but something altogether different.” (2005, p. 54). Theberge adds that a “sound recording has become productive, not simply reproductive.” (1997, p. 216). These approaches involve an intensive use of recording technology, where it plays a significant role in the sound of the completed work. This paper argues that this conception of studio-based composition confines such practices to more experimental music styles such as electro-acoustic, or psychedelic rock or pop.