[ANPPOM-L] CFP: the art of record production conference

[Carlos Palombini]

Call For Papers

The 7th Art of Record Production Conference

December 2nd – 4th 2011

San Francisco State University



21st Century Production: Technology, Performance & the Workspace



The conference panel invites proposals for papers on the following themes:



Performing in the Studio:

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:

·    The affect of architecture, isolation and monitoring technology on
performance (and recording)

·    ‘Virtual’ performances (production and reception approaches)

·    Motivation and inspiration in the studio

·    Non-linear performance and editing (collaborative performance, agency
and mediation)

·    Hearing and interpreting mediated performances (conceptual blending,
staging and authenticity)

·    The social dynamics and power relationships of the studio environment

·    Real and unreal performances

·    Performing to clicks, backing tracks and moving images.



The Contemporary Recording Studio:

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:

·    Changing business models for recording studios

·    The studio as a place of work (representing and mythologising the
studio)

·    The rise of the semi-pro / bedroom market (recording as leisure
consumption rather than music production)

·    Studies about specific studios, historical periods, geographical areas,
architectural or design types

·    Relationships between people and studios

·    The effect of television, film, game design and other media on
recording studios

·    The computer as a place of work

·    Working practice and how studio design and usage has altered it.



Hardware versus Software:

>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:

·    Analogue versus digital (processing, storage and amplification)

·    The effect on music to picture

·    The change of creative focus from recording to processing

·    Agency and ownership in musical creativity (did the guy at Garageband
co-write my tune?)

·    Mixing in and out of ‘the box’

·    Ergonomics and the Human Computer Interface

·    Changes in the way we visualise and conceptualise sound

·    Presets, plug-ins and the lure of new toys.



Teaching Production:

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:

·    How can educators best prepare audio students for the job market?

·    Art or Science? Should courses be contextualising audio studies with
cultural theory or electrical engineering?

·    What can universities teach students that a website can’t?

·    The pros and cons of generalised courses as opposed to specialisms such
as live sound, sound for film, television and other media etc.

·    Who should be teaching audio? Professional and academic backgrounds.

·    Where are the jobs, income streams and growth opportunities in the
current market?

·    What’s the future of education in this sector?



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.

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.

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.

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).

Submissions by email to simonzt em artofrecordproduction.com

The deadline for proposals is 30th April 2011



Katia Isakoff                                    Director of the Art of
Record Production Conference

Scott Patterson                        Host of the 7th Art of Record
Production Conference

Steve Savage                                    Host of the 7th Art of
Record Production Conference

Simon Zagorski-Thomas            Director of the Art of Record Production
Conference


-- 
Carlos Palombini
cpalombini em gmail.com
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