Producing Music

During the last two decades, the field of music production has attracted considerable interest from the academic community, more recently becoming established as an important and flourishing research discipline in its own right. Producing Music presents cutting-edge research across topics that both strengthen and broaden the range of the discipline as it currently stands. Bringing together the academic study of music production and practical techniques, this book illustrates the latest research on producing music. Focusing on areas such as genre, technology, concepts, and contexts of production, Hepworth-Sawyer, Hodgson, and Marrington have compiled key research from practitioners and academics to present a comprehensive view of how music production has established itself and changed over the years. Cover 1 Half Title 2 Series 5 Title 6 Copyright 7 Contents 8 Contributor Biographies 11 1 Introduction 18 Part One Music Production and Genre 24 2 Socio-Technical Networks and Music Production Competencies: Towards an Actor Network Theory of Hip Hop Beat-Making 26 3 Boom Bap Ex Machina: Hip-Hop Aesthetics and the Akai MPC 49 4 The DAW, Electronic Music Aesthetics, and Genre Transgression in Music Production: The Case of Heavy Metal Music 69 5 Antonio Carlos Jobim: The Author as Producer 92 6 Compost Listening: Vaporwave and the Dissection of Record Production 104 7 Classical Production: Situating Historically Informed Performances in Small Rooms 121 Part Two Music Production and Technology 134 8 The Politics of Digitizing Analogue Recording Technologies 136 9 Producing Music for Immersive Audio Experiences 151 10 Producing 3-D Audio 173 11 Popular Music Production in Laptop Studios: Creative Workflows as Problem-Solving Within Ableton Live 196 12 Real-Time, Remote, Interactive Recording Sessions: Music Production Without Boundaries 211 13 Tracking With Processing and Coloring as You Go 226 Part Three Concepts of Production 244 14 Working With Sound in the DAW: Towards a New Materiality of the Audio-Object 246 15 Coproduction: Towards a Typology of Collaborative Practice in Music Production 263 16 Narrative and the Art of Record Production 280 Part Four The Context of Production 296 17 “Clever” Tools and Social Technologies: To What Extent Does Wider Access to Technology Necessitate a Step Change in Approaches to Teaching Music Production? 298 18 Contemporary Production Success: A Roundtable Discussion With Mid-Career Music Production Professionals 310 19 Conversations With Women in Music Production 328 Index 346