All things related to society and culture: sociology, cultural studies, and the social and cultural influence on the arts and we humans
(Page 2017a) Me, myself, I – the multi-facetted/multi-dimensional practitioner As described in my blog Research Practitioner Part 16 (Page 2017b), I am a multi-facetted/multi-dimensional practitioner – a practitioner across multiple practices of education & learning, research study commitments, creative practice, professional consulting practice and family responsibilities. I concluded that: “All of my practice informs my self; and my...
(Page 2014a) This blog is a continuation of a series. See here (Page 2014b) for the previous blog. Reflecting on 2014 …. My approach to practice was so different to that of my recently recruited peers. As part of the creative media studies stream, learners were now to be immersed in specific creative media lexis and theory, via tasks that...
This blog is a continuation of a series. See here (Page 2016a) for the previous blog. (Maypole 2018a) Mainstream popular music-making practitioners draw on broader lineage Musical hybridity is prevalent in most approaches to music-making, particularly roots-based approach music. Mainstream music developed out of traditional roots-based forms of music such as blues, country, folk, bluegrass and...
(Paul, 2016) Development of production techniques in mainstream popular music-making The making of mainstream popular music has developed exponentially over the past five (5) decades, in terms of musical style, site (creative location), technology and workflow (Owsinski 2013, Huber and Runstein 2013; Izhaki 2013; Gilreath, 2010). As a flow on from both globalisation and technological...
This blog is a continuation of a series. See here (Page 2015a) for the previous blog. (Musical Styles/Genre 2016) Musical styles (Genre) studies exemplifying changing practice in music production I provide some examples of contemporary DIY music production practitioners, chosen because of the following: their presence in public mediums; are considered a source of information and influence...
Standards of effective practice have played an important part in the audio industry, even though these may be challenged by DIY culture and practices. Historically, the music and audio industry’s standards have addressed commercial and technical criteria. In commercial terms a “successful record producer is, by definition, someone who has had multiple hits” (Burgess 1997,...
This blog is a continuation of a series. See here (Page 2015a) for the previous blog. Following substantial technological development from the late 1960s to today, music practice has diversified exponentially in a variety of social and cultural contexts (Wallis 2001; Watson and Shove 2008). Limited access to major corporate record label and broadcasting studios in...
My journey continues…. (Page 2014) This blog is a continuation of a series. See here (Page 2015a) for the previous blog. Year 2015: 2nd Observation Part g Bordering my music-making practice As mentioned in the previous blog, I came to understand within the first few months I needed to broadly explore the fields and disciplines of...
(MIDAS 2014) This blog is a continuation of a series. See here (Page 2015a) for the previous blog. The changing field of music production Portable Studio With the development of laptops and handheld microphones such as the Zoom H4, the project studio got smaller and more mobile. Coined as portable studios, anyone with musical aspirations could...
My journey continues…. (Page 2014a) This blog is a continuation of a series. See here (Page 2015a) for the previous blog. Year 2015: 2nd Observation Part f Bordering my music-making practice As mentioned in the previous blog, I came to understand within the first few months I needed to broadly explore the fields and disciplines of...