Calls for Contributions
Perspectives on Music Production Call for Monographs
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: email@example.com
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).
Music Production Education Book & Conference Call 2020
Music Production Education Conference 2020 (and subsequent Routledge Proceedings Book)
"Reflecting the Future"
Leeds Beckett University, Leeds, UK
Thursday 14th - Friday 15th May 2020
MPEC 2020 is the second conference for the study of Music Production & Technology pedagogy. MPEC seeks to provide a forum for the discussion and analysis of teaching and learning in music production & technology in Further and Higher Education. The conference offers a forum for lively debate and stimulating presentations that address some of the issues of contemporary music production education within the broader context of the arts sector, research and professional communities.
This second conference benefits from a partnership with the publisher Routledge. A proceedings book will be published in mid-2021 with selected chapters from the conference.
Sylvia Massy. Landmark producer, engineer and educator with Berklee College of Music online. “She’s the unpredictable producer and engineer known for her work with Tool, Johnny Cash, Prince, Tom Petty and the Red Hot Chili Peppers… but there’s a whole lot more to Sylvia than just music…”. Sylvia is an author and is currently writing a book on vintage microphones.
Professor Carola Boehm is Associate Dean (Students) in the School of Creative Arts and Engineering at Staffordshire University. Carola is a passionate advocate of interdisciplinarity & creativity, the international context, and the role that universities play in our creative sectors and communities. Carola pioneered the critical analysis of the music technology curriculum in the Higher Education sector with her highly cited paper The discipline that never was: current developments in music technology in Higher Education in Britain (2007).
Katie Tavini is a mastering engineer from Manchester, working in Brighton. Katie’s mastering clients have included Decca Records, Royal Philharmonic Orchestra, Abi Wade and Sonic Boom Six. As well as working as a mastering engineer, Katie also hosts Red Bull's Normal Not Novelty engineering workshops, and has a monthly column in Pro Sound News Europe. She was recently shortlisted for Mastering Engineer of the Year at the Music Producers Guild Awards 2020.
Who should attend?
- Lecturers and teachers (School, FE & HE)
- Education Managers and Deans
- Examination Board staff & Publishers
- Music industry personnel
- Researchers in music technology and music education
- Technical support staff
- Freelancers in industry and/or education
- Students interested in music technology and production education
Further details of the programme of events and keynote speakers will be available shortly on the conference website: www.musicproductioneducation.co.uk
Call for Papers & Conference Scope
The conference committee invites proposals for papers relating to the conference theme of 'Music Production Pedagogy’. Possible topics for consideration include:
- 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 discussions
We welcome creative approaches to paper sessions (i.e workshops, interactive presentations etc.) and we especially welcome contributions from people from underrepresented groups in FE, HE and the broader music industry. Individual presentations should be no more than 20 minutes in duration. Proposals should take the form of a title followed by an abstract of no more than 200 words. Deadline for submission is Friday 6th March 2020 and decisions will be notified around three weeks after this date.
Papers presented in full at the conference will be considered for inclusion as chapters in a forthcoming book signed to Routledge.
Proposals should be emailed to: firstname.lastname@example.org
The Music Production Education Conference 2020 will be held at Leeds Beckett University and hosted by Leeds School of Arts with collaboration from York St. John University. Music Production education has been a key part of Leeds Beckett University for nearly 23 years and for over 12 years at York St. John University.
Full venue, accommodation and travel details will be made available on the conference website shortly.
Conference attendance fees are to be confirmed but will be in the region of £90 per delegate with discounts available for students.
Co-Chairs & MPEC Steering Committee:
- Dr. Paul Thompson (Host Chair) - Leeds Beckett University, UK
- Russ Hepworth-Sawyer - York St John University & MOTTOsound, UK
- Katie Tavini - Katie Tavini Mastering & Red Bull Academy, UK.
- Dr. Mark Marrington - York St John University, UK
- Nick Hughes - Robert Smythe Academy, Leicester, UK
Dates and Deadlines
- 06 March 2020 - abstracts deadline
- 03 April 2020 - acceptance of abstracts sent to authors
- 14 May 2020 - conference opens
- 29 May 2020 – full draft chapter submitted (for those wishing to submit for the Routledge Volume)
- 01 July 2020 – Final edits call for chapters for conference proceedings submitted (TBC)