
Contents
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Introduction Introduction
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The Gould-Drummond Axis The Gould-Drummond Axis
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Transparent Poetics and Musical Assemblages Transparent Poetics and Musical Assemblages
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Who (and What) Is Performing Who (and What) Is Performing
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The Studio Environment The Studio Environment
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Practical Implications Practical Implications
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Key Sources Key Sources
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Reflective Questions Reflective Questions
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References References
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21 Performing in the Studio
Get accessMark Slater studied music at the University of Sheffield before completing a postgraduate certificate in higher education and a PhD that focused on the relationship between composition and improvisation. He is a Senior Lecturer in Music at the University of Hull. He has served as articles editor for the Journal on the Art of Record Production and has published in Popular Music, the Journal of the Royal Musical Association, and Music Analysis on topics relating to production, collaboration, and ontology in the digital era. As a composer and producer, his works span broad stylistic and sonic terrains. He has a particular interest in the intersections between the familiar and the unpredictable, the stable and the volatile, and between improvised spontaneity and forensic manipulation in technology-mediated collaborative contexts. His compositions and production projects have been performed, released, and broadcast internationally.
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Published:13 January 2022
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Abstract
While studio recordings can resemble live performances and draw upon similar reserves of knowledge and skill, the processes and experiences of performing in the studio are notably different from being on stage in front of an audience. This chapter situates performance within the technological trappings of the studio and its associated social and musical processes, which are now so prevalent in contemporary musicianship. The chapter draws upon ideas from ontology (in terms of how recording modifies the forms of music’s existence), sociology (in that the process of making recordings demands a consideration of the social constructs at play between collaborators), affordances (to describe how people and the material aspects of the studio and its apparatus are entwined in a productive relationship), and poetics (which relates the process of making to the specific conditions of that moment). To draw out the practical implications of the discussion, four proposals are offered, which encourage: (1) a recognition of the similarities and differences between live and recording performance contexts; (2) an understanding of the ideological underpinnings of why a recording is being made; (3) an acknowledgment of the productive effects of technology; and (4) an admission that recordings construct an illusion of some kind of reality.
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