Art of Record Production 2019 has ended

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Art of Record Production 2019

Art of Record Production Conference
May 17-19, 2019
Berklee College of Music, 921 Boylston Street, Boston, MA 02215
berklee.edu/arp19

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09:30 EDT

Coffee David Friend Recital Hall

10:00 EDT

Collapsing the Walls of the Recording Space - Creative Production Techniques to Enable Site-Responsive Composition Classroom 411 (4th floor)Tony Dupé The audio technology and its influence on the rise of Colombian tropical music in the 60s and 70s… Classroom 311 (3rd floor)Carlos Caballero What if we didn’t need metrics and empirical data Classroom 511 (5th floor)Chris Whiting

10:30 EDT

Analysis of piano accent and its application in Teaching Classroom 411 (4th floor)Wang Yuxiling • Xuefeng Zhou Inside Out and Outside In: how should we be discussing collaborative creativity in record production? Classroom 511 (5th floor)Simon Zagorski-Thomas The Recording Studio as an Internationalization Tool for Afro-Colombian Music: The Role of Bogota's Independent Record Labels Classroom 311 (3rd floor)Ons Barnat

11:00 EDT

Network Timed Ensembles: Musical Performance and Composition in the Interconnections of Apps and Devices Classroom 411 (4th floor)Eve Klein Defining Creativity in Record Production: What the Authoritative, Well-Reasoned, Empirically Grounded Research into Creativity Classroom 511 (5th floor)Phillip McIntyre Spaces and Agents of the Record Production Process in Spain: analysis of the Vinader sound in Julio Iglesias’ first recordings… Classroom 311 (3rd floor)

11:30 EDT

Learning to be a ‘Tracker’: A pedagogical case study of learning collaborative music production Classroom 411 (4th floor)Brendan Anthony • Paul Thompson • Tuomas Auvinen Placing The Sound: Intertextuality in the recording of Dutch Uncles’ Big Balloon Classroom 511 (5th floor)Jamie Birkett “Whose line is it anyway?”: Artists, producer, and collaborative creativity in classical recording Classroom 311 (3rd floor)Stephen Johns

12:00 EDT

Lunch The Berklee Caf

13:00 EDT

Methodology Panel - Introduction by Albin Zak David Friend Recital HallAlbin Zak • Ragnhild Brøvig-Hanssen • Nyssim Lefford • Catherine Provenzano • Paul Théberge • Alan Williams

14:15 EDT

"Revolution 9": The Creation of John Lennon's Guernica Classroom 411 (4th floor)Walter Everett Autosonic Self-quotation:exploring the benefits of sampling while retaining authorial agency Classroom 511 (5th floor)Jeff Wragg Sectional Surrealism: A practice-base investigation into choir recording techniques for the independent film composer Classroom 311 (3rd floor)Claire Benedict

14:45 EDT

"You want it to sound like I don't know how to record?": negotiating conceptions of "lo-fi" authenticity in collaborative work Classroom 411 (4th floor)Ellis Jones • Patrick Hyland An Observation of Sentence Timbre Classroom 311 (3rd floor)Tian Hao • Xuefeng Zhou Sampling creativity: Copyright and the commons Classroom 511 (5th floor)Adam Behr

15:15 EDT

Vocal Chops and its Aesthetics Classroom 411 (4th floor)Ragnhild Brøvig-Hanssen • Jon Marius Aareskjold Grids, Waveforms, and “Blocks” of Sound: On the Increased Segmentation of Musical Content in Digital Music Production Classroom 311 (3rd floor)Bjørnar Sandvik New Music, New Wave, New Age: Genre Discourse in Laurie Anderson’s Big Science Classroom 511 (5th floor)S. Alexander Reed

15:45 EDT

Closing David Friend Recital Hall