|Title||The Implications of Loraine James’s Production Approach as Real-time Production Performance Practice|
My abstract for the Practice Research in 21st Century Music which took place at the University of West London. Details of the conference can be found here: http://www.c21mp.org/events/practice-research-in-21st-century-music/
The theme for this presentation develops arguments from my other work on DAWs, sampling and live coding.
Regardless of movements like controllerism (Boon 2021), most productions still exhibit a division between studio and stage for the producer-performer and performer-producer type of artist practitioner. Real time production activities, when encouraged by DAW manufacturers, are usually in the service of creating an artefact for further editing and mixing rather than solving computer performance issues. This position is further complicated by notions of what constitutes real time performance with computers (see Burgess 2013: 85), as well as who controls the computer and who is doing the performing, which become central and critical concerns. Thus, Loraine James, a queer black female working class electronic musician, presents an interesting case for artistic research in this area to fill this clear gap in research. The knowledge implications for performance, production and pedagogy, which are all simultaneously bounded within this process, also extend to the decentering of production power relations and presence, such as women and their access to the identifier producer, within these fields (Reddington 2021: 4).
James’s production-performance/performance-production approach circumvents many issues encountered by DAW artists, by adopting a specific method to their artistic working practice. This encapsulates pre-production, performance and post-production as a combined creative process generating three simultaneously derived and useful artefacts:
Boon, H. (2021). Using DAWs as modelling tools for learning design sound-based applications in education, Journal of Music, Technology & Education, 13(2-3), pp. 305-322.
Burgess, R., J. (2013). The Art of Music Production : The Theory and Practice, Oxford: Oxford University Press.
Reddington, H. (2021), She’s at the Controls: Sound Engineering, Production and Gender
|digital audio workstation|
|Year||20 May 2023|
|Conference||Practice Research in 21st Century Music|
|Accepted author manuscript|
CC BY 4.0
File Access Level
Open (open metadata and files)
|Web address (URL) of conference proceedings||http://www.c21mp.org/events/practice-research-in-21st-century-music/|