The Implications of Loraine James’s Production Approach as Real-time Production Performance Practice

Boon, H. 2023. The Implications of Loraine James’s Production Approach as Real-time Production Performance Practice. Practice Research in 21st Century Music. University of West London 20 May 2023

TitleThe Implications of Loraine James’s Production Approach as Real-time Production Performance Practice
AuthorsBoon, H.
Abstract

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.

Abstract

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:

1. Performance;
2. Audio recording;
3. Video recording of the performance.

This presentation’s contribution considers the affordances and constraints of James’s approach and why it might signal the reimaginaing of a more conventional production process for electronic music producers. I highlight the implications and applications for emergent producer-performer/performer-producer practitioners and theorise how this approach potentially (re-)solves related work based problems such as workflow and mediatization, possibly even monetisation, of digital musical production-performance labour.

References

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
Ventriloquism in the 21st Century. Sheffield : Equinox.

Keywordsmusic technology
music performance
digital audio workstation
music composition
creativity
music production
music education
cultural work
Year20 May 2023
ConferencePractice Research in 21st Century Music
Accepted author manuscript
License
CC BY 4.0
File Access Level
Open (open metadata and files)
Web address (URL) of conference proceedingshttp://www.c21mp.org/events/practice-research-in-21st-century-music/
https://youtu.be/IR-cqOht1PA

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