<div id=":2oc" class="ii gt"><div id=":2ob">Call For Papers<br>
<br>
The 7th Art of Record Production Conference<br>
<br>
December 2nd – 4th 2011<br>
<br>
San Francisco State University<br>
<br>
<br>
<br>
21st Century Production: Technology, Performance & the Workspace<br>
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The conference panel invites proposals for papers on the following themes:<br>
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Performing in the Studio:<br>
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Evan Eisenberg described the paradox of recording as being “that [for
the performer] the audience is not there…[is] the flip side of the fact
that, for the listener, the performer is not there”. How does this
affect the relationship between the performer or listener and the music?
This stream invites papers on all aspects, both theoretical and
practical, of this subject including:<br>
<br>
· The affect of architecture, isolation and monitoring technology on performance (and recording)<br>
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· ‘Virtual’ performances (production and reception approaches)<br>
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· Motivation and inspiration in the studio<br>
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· Non-linear performance and editing (collaborative performance, agency and mediation)<br>
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· Hearing and interpreting mediated performances (conceptual blending, staging and authenticity)<br>
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· The social dynamics and power relationships of the studio environment<br>
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· Real and unreal performances<br>
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· Performing to clicks, backing tracks and moving images.<br>
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The Contemporary Recording Studio:<br>
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The stereotypical story of recording studios in the 21st century is that
the traditional, expensive recording studio model has given way to a
cheap desktop system. Is this actually the case? What is the more
sophisticated and nuanced version of this story? The stream invites
papers on all aspects, both theoretical and practical, of this subject
including:<br>
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· Changing business models for recording studios<br>
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· The studio as a place of work (representing and mythologising the studio)<br>
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· The rise of the semi-pro / bedroom market (recording as leisure consumption rather than music production)<br>
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· Studies about specific studios, historical periods, geographical areas, architectural or design types<br>
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· Relationships between people and studios<br>
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· The effect of television, film, game design and other media on recording studios<br>
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· The computer as a place of work<br>
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· Working practice and how studio design and usage has altered it.<br>
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Hardware versus Software:<br>
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>From the 1980s onwards the march of the computer into music production
and recording has been inexorable and has completely changed the nature
of recording, editing, processing and mixing. From the aural Lego of
AppleLoops in the consumer market to DIY signal processing system design
and electronic composition with Max/MSP, the landscape of recorded
music has changed beyond recognition in thirty years. The stream invites
papers on all aspects, both theoretical and practical, of this subject
including:<br>
<br>
· Analogue versus digital (processing, storage and amplification)<br>
<br>
· The effect on music to picture<br>
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· The change of creative focus from recording to processing<br>
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· Agency and ownership in musical creativity (did the guy at Garageband co-write my tune?)<br>
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· Mixing in and out of ‘the box’<br>
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· Ergonomics and the Human Computer Interface<br>
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· Changes in the way we visualise and conceptualise sound<br>
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· Presets, plug-ins and the lure of new toys.<br>
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Teaching Production:<br>
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The huge expansion, at universities and elsewhere, in courses about
music technology, production and sound engineering has coincided with a
contraction in the job market and income streams in the sector. At the
same time, more and more magazines, books and websites are putting the
‘secrets’ of the profession in the public domain and the product
designers are doing their best to simplify the process for their users.
The stream invites papers on all aspects, both theoretical and
practical, of this subject including:<br>
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· How can educators best prepare audio students for the job market?<br>
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· Art or Science? Should courses be contextualising audio studies with cultural theory or electrical engineering?<br>
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· What can universities teach students that a website can’t?<br>
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· The pros and cons of generalised courses as opposed to specialisms
such as live sound, sound for film, television and other media etc.<br>
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· Who should be teaching audio? Professional and academic backgrounds.<br>
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· Where are the jobs, income streams and growth opportunities in the current market?<br>
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· What’s the future of education in this sector?<br>
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The conference panel would like to invite delegates to submit ideas for
presentations exploring aspects of music production, performances and
practical demonstrations on any topic relating to the Art of Record
Production.<br>
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We welcome work from any relevant academic perspective, including but
not limited to popular music studies, ethnomusicology, the study of
performance practice, communication studies, historical musicology, the
history of technology, ergonomics, acoustics and psychoacoustics, music
theory, music cognition, music and music technology education, and the
philosophies of music, mediation and technology. Please include a note
on methodology where appropriate, and an indication of the theme your
work is intending to address.<br>
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Papers or demonstrations that require recording / studio / 5.1 playback
facilities are also encouraged but selection will be subject to a
feasibility study by the conference panel at San Francisco State
University.<br>
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Proposals for individual papers and poster presentations should not
exceed 500 words and should be in Word Document, Rich Text File or Text
file formats (doc, docx, rtf or txt files).<br>
<br>
Submissions by email to <a href="mailto:simonzt@artofrecordproduction.com">simonzt@artofrecordproduction.com</a><br>
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The deadline for proposals is 30th April 2011<br>
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<br>
<br>
Katia Isakoff Director of the Art of Record Production Conference<br>
<br>
Scott Patterson Host of the 7th Art of Record Production Conference<br>
<br>
Steve Savage Host of the 7th Art of Record Production Conference<br>
<font color="#888888"><br>
Simon Zagorski-Thomas Director of the Art of Record Production Conference<br>
</font></div></div><img class="mL" src="images/cleardot.gif" alt=""><br clear="all"><br>-- <br>Carlos Palombini<br><a href="mailto:cpalombini@gmail.com" target="_blank">cpalombini@gmail.com</a><br><br>