Paul Thompson, Leeds Beckett University, UK
Phillip McIntyre, Newcastle University NSW, Australia
Abstract: Popular accounts of creativity inside the recording studio tend to romanticise and mythologise the record production process (Williams, 2008). These accounts present the artist as the sole creative entity during the recording process, thus endorsing the romantic ideal of a musical ‘genius’ whose artistic expressions are free from any constraint and even somewhat mystical (Zolberg 1990, Petrie 1991, Watson 2005, Sawyer 2006). However, it has been acknowledged that the production of art is always, to some degree, both constrained and enabled by the structures creative agents engage with (Giddens 1976; Becker 1982; Wolff, 1981; Bourdieu 1993). Furthermore, rather than placing the artist at the centre of the creative process there is growing evidence that creativity occurs through the convergence of multiple elements; an agent, a knowledge system (the domain) and a social organisation that holds the domain knowledge (the field), through a dynamic system of interaction (Csikszentmihalyi: 1988, 1997, 1999 & 2004).
Drawing upon current literature, interviews, case studies and data gathered from an extended ethnographic study in the recording studio, this paper explores the interrelated aspects of agency and structure as they apply to the record production process and illustrates their influence on the decisionmaking process with a group of musicians, an engineer and record producer as they collaborate inside the recording studio.