Creating new music ecologies: QUT’s 100 Songs Project #arp13

Eleven: Best Of 100 Songs Project 2012

HOWLETT, MIKE (Queensland University of Technology)

GRAHAM, PHIL (Queensland University of Technology)

Creating new music ecologies: QUT’s 100 Songs Project

[abstract] The 100 Songs Project is a massive action research experiment conducted by QUT Music & Sound researchers structured around an annual event during which 100 Songs are recorded in 100 hours at the University’s studios. As a research project, the event is designed to achieve a number of scholarly and applied outcomes. Its overarching aim is to help identify and promote new ways in which musicians can build sustainable careers. More particularly, it aims to: create a living annual document of new and emerging music in South-East Queensland; identify and understand new trends and strategies in the production, distribution, and sale of recorded music; generate understandings about how digital networks are affecting the way audiences connect with new music; and gather and analyse data about the lives and circumstances of local musicians.

100 Songs is also an exceptional teaching context for production students. It involves hundreds of musicians from an unpredictable range of styles and genres; dozens of students studying in music, film, and entertainment degrees; and some of Australia’s most experienced producers working to intense deadlines in 72 four-hour sessions over 6 days. The pedagogical value for production students working as assistants for the event is immeasurable. The event is also at the centre of a new Master of Fine Arts degree beginning in February 2013. This paper reports findings from the first two years of the project and suggests new directions for blending research and teaching that have become evident in the conduct of this unique project.

Today, Mike is presenting his data as a work in progress, and looking for links with other academics and projects. He outlines the project (see abstract above) and describes its scale numerically. Each room is fitted with a backline and runs from 10am to 2am daily. So 3 studios x 4 sessions per studio = 72 sessions. 28 sessions must produce 2 songs. See website.

The “virtual” producer in the recording studio #arp13

The Vicious Five recording at Namouche in 2009

CAMPELO, ISABEL (Universidade Nova de Lisboa)
HOWLETT, MIKE (Queensland University of Technology)

The “virtual” producer in the recording studio: media networks in long distance peripheral performances

[abstract] The producer has for many years been a central agent in recording studio sessions; the validation of this role was, in many ways, related to the producer’s physical presence in the studio, to a greater or lesser extent. However, improvements in the speed of digital networks have allowed studio sessions to be produced long-distance, in real-time, through communication programs such as Skype or REDIS. How does this impact on the role of the producer, a “nexus between the creative inspiration of the artist, the technology of the recording studio, and the commercial aspirations of the record company” (Howlett 2012)?