[ANPPOM-L] CFP: The Art of Record Production

[carlos palombini]

The Fourth Annual Art of Record Production Conference 2008
Nov. 14 - 16, 2008 
Hosted by William Moylan at The University of Massachusetts Lowell,
Lowell, Massachusetts, USA

http://www.ArtOfRecordProduction.com
Apologies for cross posting

Call For Papers

 
Conference Summary:
The ARP Conference gathers together industry professionals, academic
scholars, and musicians who utilize and study recording technology as a
principle means of creative expression. It is the aim of this conference
to facilitate the exchange of ideas between these groups, drawing upon
broad areas of expertise, and providing a unique opportunity for
individuals to inform, challenge, and stimulate the discourse
surrounding the intersection of technology and music. ARP provides a
platform for the exchange of ideas and multiple perspectives across
disciplines.
The conference addresses a range of topics such as; how creative
expression is achieved through technological practices; how changes in
recording technology have impacted upon and informed musical practices;
the so-called "democratization" of access to modes of creative
expression and the resultant opportunities for the distribution of
recorded work in the age of computer-based recording and the Internet.
The conference will comprise academic papers, industry speakers and
panels, practical demonstrations and masterclasses as well as plentiful
opportunities for networking and informal debate.
 
The 2008 Conference will deliver four streams of papers and panels
around the following topics:
 
1. The Studio as Musical Instrument. 
In 1983 Brian Eno described the recording studio as his musical
instrument. After several decades of technological change, it is worth
considering how the definition of what constitutes a "studio" has
shifted, and the various technological, economical, and political
impacts these shifts have had and continue to have on contemporary
music. What does “The Studio as Musical Instrument” mean today? How has
recording practice affected composition, arranging and song writing
practice?  How have “composer,” “performer,” “engineer,” “conductor,” or
“musician” been redefined?  How has the “recording studio” changed music
and music making?  Please send proposals for this stream to:
arp08_smi em artofrecordproduction.com

2. Recording Practice and Performance.
How have changes in recording practice affected performance practice
amongst recording musicians? How has technology influenced the sound art
which results?  How do record producers, musicians and sound engineers
communicate in the studio? How do they view each other? How have the
control surfaces of the studio been absorbed into and influenced musical
performance? How do issues such as comfort and non-verbal communication
between musicians balance against separation and audio quality in the
recording process? How is the creative power distributed between
musicians, producers, record companies and technicians?  Please send
proposals for this stream to: arp08_rpp em artofrecordproduction.com

3.  The Empowered Artist
The means for composing, performing, recording, promoting and
distributing sound recordings is available to all artists.  Is the
‘capability’ to do it all being matched by the ‘ability’ to do it well?
Are the potentially conflicting challenges of business and creation
being juggled without undermining the economic or artistic value of what
results? How has low-cost audio production technology impacted the
recording industry, both economically as well as in re-casting the
creative technologies contained in professional facilities?  Please send
proposals for this stream to: arp08_tea em artofrecordproduction.com
 
4.  Production and the Listener

How aware are listeners of the possibilities and actualities of
production? How aware are the industry professionals who are not
involved in production? How do production practices impact on notions of
authenticity? Are alternative mixes regarded by listeners as
aesthetically equivalent? Do producers work with specific listening
environments or audiences in mind? How has this impacted on the
historical development of record production? Please send proposals for
this stream to: arp08_pl em artofrecordproduction.com


Other subject areas will be considered and we encourage the submission
of papers on any topic associated with the art of record production.
 
Proposals for individual papers and poster presentations should not
exceed 300 words.

Proposals for panels should include the names and brief CVs of all panel
members and their individual contributions and should not exceed 1000
words.

The deadline for proposals is the 15th April 2008.
General enquiries can be addressed to: simonzt em artofrecordproduction.com

Best wishes,
Simon

Simon Zagorski-Thomas
The Art of Record Production - Conference and Journal
http://www.artofrecordproduction.com

-- 
carlos palombini (dr p)
professor adjunto de musicologia
universidade federal de minas gerais
<cpalombini em gmail.com>

"Là où ça sent la merde
ça sent l'être."

(Antonin Artaud, Pour en finir avec le jugement de Dieu, 1947)