Calls for Contributions

Recording Music (Routledge) - Call for Contributions

Call For Contributions - Perspectives on Music Production - Recording Music (Routledge)

Call for Contributions: Perspectives on Music Production – Recording Music (Routledge)

  • Deadline for proposals: 1st Oct 2020
  • Chapters to be submitted: 1st Sep 2021
  • Proposed publication date: June 2022.

Proposals to be submitted to:

Queries to: Dr. Mark Marrington, York St. John University:

We are currently inviting chapter proposals for the latest volume in the Routledge Perspectives on Music Production series, Recording Music, which follows Mixing Music (2017) Producing Music (2019) and, most recently, Gender in Music Production (2020). In keeping with the ethos of the series we are happy to consider a broad spectrum of submissions on the subject of recording theory and practice, ranging from experientially informed practitioner accounts to theoretically couched academic investigations. The following areas are offered as a guide:

  • Definitions. What does the term ‘recording’ entail in the context of contemporary music production practice? To what extent do expressions such as the ‘art of recording’ and ‘creative recording practice’ still hold currency?
  • The role of technology in recording. This might imply the historical evaluation of particular technological forms that have been central to, or have informed, the development of recording practice. More broadly proposals might consider the ways in which contemporary technological environments (formed, for example, by DAWs and related digital tools) are conditioning modern recording paradigms and approaches.
  • Genre specific perspectives on recording. We would welcome contributions discussing the theory and practice of recording from practitioners working within clearly defined genre areas – rock, pop, electronic music, hip hop etc - and newly emerging subgenres thereof – as well as those that are relatively under-represented in music production literature, such as jazz and classical music.
  • Case Studies & Interviews. Discussions of, or with, individual figures who have played a pivotal role in evolving the art of music recording. Profiles of important and innovative recordists from the early period of recording to the present may be considered here. We are also keen to encourage auto-ethnographic perspectives and self-reflective accounts of process and experience in recording.
  • Advances on current enshrined perspectives within academia and the practitioner literature. We would be interested in any current research which evolves, builds upon or evaluates the existing body of literature (e.g. Moylan, Huber and Runstein, Bartlett) concerned with formalizing the study of recording practice.
  • Theoretical perspectives. This could include critical theory-informed readings of particular recordings; hermeneutic approaches incorporating particular methodologies (such as semiotics) to the study of recordings; interdisciplinary and musicological approaches which bring wider discourses to bear upon the discussion of recordings as artefacts, including those outside the Anglo-American orbit. Contributions proposing particular models for research into recordings, historic and contemporary (building on the work of writers such as Nicholas Cook and Robert Philip for example) are also welcomed.
  • Perspectives on the evolution of recording practice going forward. We are interested in chapters that speculate on the ways in which the practice of recording music will develop in the future, and in the light of ongoing change within the industry.

Perspectives On Music Production (POMP) is a series of edited and monograph volumes reflecting a multitude of disciplines, practices and ideas under the contemporary term ‘music production’ Other edited volumes include Mixing Music, Producing Music and Gender in Music Production. Please see the series website for more information:

Volume Editors

Dr Mark Marrington, York St John University, UK

Russ Hepworth-Sawyer, York St John University, UK

Barkley McKay, Valley Wood Studio and Leeds Beckett University, UK

Dr Jay Hodgson, Western University, Canada

Music Production Education Book (Routledge) Call For contributions

Music Production Education -

"Reflecting the Future"

Book Scope:

  • Pedagogical models for teaching music production theory and practice
  • Educational paradigms in music technology & production
  • Gender representation within music production education
  • Equality and diversity
  • Current music technology progression through to Higher Education
  • Production analysis and listening in education
  • Teaching creativity in music production
  • Tensions between technology and technique in teaching music production
  • Music production education and the industry: the apprenticeship model and its future in the context of Higher Education
  • Career pathways for music production graduates
  • Post Graduate provision and development
  • Government policy on Higher Education and its potential impact on Music Production degrees (e.g. TEF)
  • Student population developments and expectations
  • Future educational landscape discussion

Proposals should be emailed to:

Perspectives on Music Production Call for Monographs (Routledge)

We are pleased to announce an open call for proposals for individual monographs for inclusion in the recently launched Routledge series, Perspectives on Music Production. The series rationale is provided below and is intended to provide guidance as to the scope of the series. Interested parties should email:

This series collects detailed and experientially informed considerations of record production from a multitude of perspectives, by authors working in a wide array of academic, creative and professional contexts. We solicit the perspectives of scholars of every disciplinary stripe, alongside recordists and recording musicians themselves, to provide a fully comprehensive analytic point of view on each component stage of music production. Each volume in the series thus focuses directly on an aspect of music production, from pre-production through recording (audio engineering), mixing and mastering to marketing and promotions.

As a series, Perspectives on Music Production was designed to serve a twofold purpose. Situated within the emerging field of music production studies, Perspectives on Music Production aims to specify what exactly scholars and recordists alike mean by the term ‘record production’. In recent research, the term is often used in simply too nebulous a manner to provide any substantive, concrete utility for researchers interested in studying specific details of the production process. In fact, both tacit and explicit definitions of ‘music production’ offered in recent research often bear a certain tautological resonance: record production is everything done to produce a recording of music, or so the argument usually seems to run. But this overly inclusive approach to defining the object of study simply doesn’t withstand sustained analytic scrutiny. The production process is broad, to be sure, but it is rationalised into numerous component procedures, each of which, while holistically related, nonetheless requires its own specialized expertise(s). And this is true whether that expertise is located in a team of people or in one single individual, as the ‘project’ paradigm would demand. Every record production, regardless of genre and circumstance, requires at least the following procedures: pre-production (conception vis-à-vis available technology), engineering (recording and/ or sequencing), mixing and mastering (even if only bouncing without any further processing) and distribution of some sort (lest the recording remains inaudible data). While record producers are indeed responsible for overseeing a project through each of these component phases—and, thus, while it may seem fair to simply refer to the totality of these phases as ‘record production’—every phase has its own unique aesthetic priorities and requirements, and each of these reacts back on, and (re)shapes, the musical object being produced in turn. Ultimately, it is uncovering and understanding the broader musical ramifications of these priorities and biases that comprises this series’ primary analytic concern.

Perspectives on Music Production also looks to broaden methodological approaches that currently prevail in music production studies. The place of traditional academic and scholarly work on record production remains clear in the field. However, the place of research and reflection by professional recordists themselves remains less obvious. Though music production studies tend to include professional perspectives far more conscientiously than other areas of musical study, their contributions nonetheless are often bracketed in quiet ways. Producers, engineers and recording musicians are often invited to participate in scholarly discussions about their work only through the medium of interviews, and those interviews typically follow more ‘trade’ oriented than straightforwardly academic lines of inquiry. We thus invite contributions from professional recordists which elucidate their own creative practice, and in whichever ways they deem most relevant to scholarly considerations of their work. Similarly, we hope the series will encourage greater collaboration between professional recordists and the researchers who study their work. As such, we invite contributions that model novel and inclusive methodological approaches to the study of record production, encompassing professional, creative, interpretive and analytic interests. It is our sincere hope that Perspectives on Music Production provides a timely and useful intervention within the emerging field of music production studies. We hope each volume in the series will spur growth in music production studies at large, a more detailed and comprehensive scholarly picture of each particular procedure in a record production, as well as a general space for researchers to pause and reflect back on their and their peers’ work in this exciting new area.

Jay Hodgson, Russ Hepworth-Sawyer and Mark Marrington (Series editors).

Innovation In Music 2021 Conference Call & Chapters for Routledge Book

Call For Papers

​Innovation in Music 2021 will be held at the Royal College of Music, Stockholm, Sweden new dates to be announces (2020 conference was postponed due to coronavirus). A Routledge conference proceedings book will be published in 2022.

The titled theme is “Music Production: International Perspectives” and whilst contributions aligning to this are encouraged, it is not exclusive; the conference scope remains multi-disciplinary as below.

Innovation in Music welcomes academics, creatives, producers, artists, industry professionals, technology developers and equipment manufacturers to come together and submit abstracts for consideration on a wide range of topics including:

  • ​Innovative music creation and performance
  • Music production: past, present and future
  • Music technology innovation
  • Innovation in music business
  • Innovation in music in the Nordic countries
    • and the relationship to International innovation.
  • Cross-disciplinary topics around music and innovation

Abstracts of 300-500 words will be reviewed for inclusion in the conference programme. After the conference, presenting authors will be expected to submit a full paper for peer review and inclusion in the book of conference proceedings, published by Routledge.

Abstracts should be submitted by 01 July 2021 to the following email address:

Innovation in Music are also welcoming proposals for innovative, interactive demonstrations and performances appropriate to the conference scope. If you are interested in being involved in any way please contact us at the following email addresses: and/or

Dates and Deadlines

  • 01 July 2021 - abstracts deadline
  • 01 August 2021 - acceptance of abstracts sent to authors
  • 01 October 2021 - early bird registration discount ends
  • 03 December 2021 - conference opens
  • 06 January 2022- full chapters submitted for conference proceedings book with Routledge

See for more information


Conference Chair

Professor Jan-Olof Gullö – Royal College of Music (KMH), Stockholm

Conference Committee Sweden

Head of Academy Per-Henrik Holgersson, Academy of Music Education – KMH

Head of Academy Anna Maria Koziomtzis, Academy of Classical Music, Composition, Conducting and Music Theory – KMH

Head of Academy Bo Westman, Academy of Folk Music, Jazz and Music and Media Production – KMH

Conference Coordinator Elina Edblom – KMH

Conference Committee UK

Professor Justin Paterson – University of West London

Russ Hepworth-Sawyer – MOTTOsound & York St John University

Professor Rob Toulson – RT60 Ltd

Further Information

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See for more information of the conference series (website update pending)