Remixing dub reggae in the music classroom: A practice-based case study on the educational value of music production for listening skills and stylistic analysis (original) (raw)

Technology and Music Production in Different Genres: Key Issues for a Significant Music Education

Journal of Urban Culture Research, 2022

This research stems from the assumption that knowing how sound technology works, as well as its features and limitations, can help us better understand the mainstream music styles and genres of the last decades. Consequently, the evolution of music recording is explored through a grounded analysis based on both published documents and on interviews with currently active music producers who are specialists in urban pop music, with the aim to collect enough data to support the need to increase the presence of sound technology in the teaching plans of Compulsory Secondary Education. After the data analysis, several didactic proposals are presented involving the introduction of these technologies in secondary education. Thus, the aim is to update formal music education for teenagers and facilitate their informed and critical point of view so they can apply it to their own music consumption.

Music Production as a Tool of Research, and Impact

Ethnomusicology Forum, 2011

This paper addresses the importance of non-written output by ethnomusicologists who (like myself) may straddle the worlds of academia and the music industry. It argues that the recording studio is the “new field” and that music production based on ethical collaboration and in-depth knowledge is significant as practice-based research, and research-based practice. I take the example of my albums featuring two outstanding Malian musicians, Toumani Diabaté and Bassekou Kouyaté, whose solo careers I launched, arguing that these albums have had far more impact on the artists themselves, and contributed to the production of knowledge about the musical culture around them, than any number of written publications. The paper was presented at a one-day British Forum for Ethnomusicology conference entitled The Impact of Ethnomusicology held in London in 2010.

Creative Conceptualisation: Nurturing Creative Practice Through the Popular Music Pedagogy of Live Recording Production

International Association for the Study of Popular Music , 2015

Record production is a major aspect of many tertiary-based popular music education programs. It is a practice that involves the capturing of an artist’s vision and is realised when that vision draws an emotional response from the listener. In professional practice there are many techniques the producer learns via experience to accomplish this, but as technology develops, processes of past eras risk being brushed aside by technological advancement. The capturing of a live performance was the practical framework used by popular music pioneers and the creative results of this process have particular characteristics that are difficult to achieve by contrasting methods. This article outlines the importance of an education in live recording frameworks to tertiary popular music students; it presents learning and teaching practices that accomplish this and concludes with a case study of a live recording workshop that nurtures the students’ developing creative practice. KEYWORDS: record production, popular music pedagogy, live recording

isme2014abstracts, The Learning Process of Three Electronic Music Producers of Dance Floor ,pg 103-

The Learning Process of Three Electronic Music Producers of Dance Floor Eliza Vazquez This work has focused on understanding the learning process of three producers of electronic dance music, they belong to the underground scene of Brasilia. Around this theme we are looking for to understand how those producers to get the learning process. The ethnographic case study was the chosen methodology, where the observation environment is the dance floor and the social network sites are the producers. It was noticed that the three built their knowledge independently, exchanging experience among peers, searching for information in cyberspace, on the track (such as a DJ or goer) and making use of manufacturing technologies for learning how to 104 produce. On the track the producer interacts both as a DJ and as goer and these experiences are moments of analysis and expansion of repertoire, where he sees the reaction of the runway to the sound elements of music and seeks to understand the best way to compose for this context. The producer uses cyberspace to publicise their work, buy songs, search, share information and receive feedback from their productions. Their listening is active, seeking to recognise styles, tones, shapes and constructs sets. Through cyberspace they foster the scene, exchange information and music, expand knowledge and establish relationships between other producers, DJs and patrons of the scene. Involvement with the production technology is key to building these knowledge producers, and computer software are the tools used to build their music, and as they understand the logic of the program they can better produce. Their knowledge is built into do during sound manipulation, letting himself be guided by listening, the producer builds his music, evaluates and modifies if necessary, in a dynamic process of production and learning. This interweaving of experiences in a non-formal learning space opens reflections for music education in formal education, which should seek a teaching methodology that understands cyberspace and the dance floor as places of learning, proposing specific activities and experiences in these environments, as well as understand the importance of experimentation and different music software, leaving the listener to guide the composition, developing a critical perception, active and creative.

A DIY music pedagogy

Keep it Simple, Make it Fast! An approach to underground music scenes (vol. 5), 2021

In the city of Porto Alegre, Brazil, a self-managed network of women dedicates themselves to promote musical experiences to girls and women, seeking to strengthen their self-esteem and awaken in them, musical interest. The members are artists and feminist activists, many connected to the punk scene of Porto Alegre, which is predominantly occupied by men. With the objective of understand the musical pedagogy practiced by them, I am doing a qualitative study, for my doctor degree, centered in women's experience, as lived, and described by them. I've joined this network, collaborating in the musical actions, and I am doing indepth interviews with the group's members and participants of these actions. I hope to demonstrate the importance of these actions for fighting gender inequalities in music education and music practices in general.

Studio Trad: Facilitating traditional music experiences for music production students1

Journal of Music, Technology and Education

Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Rese...

Reggae Revival’s role in the live performance standard, sound system culture and contributions to the creative and cultural industries

2017

The movement of the Reggae revival, while it is not brand new there are still discussions describing the nature of the movement, specifically focusing on the ‘revival’ aspect and what it means. Other general discussions like the article in Vogue for example, focus on the manifestation of this movement, exploring how the artists met each other and what led them to be where they are now, how they have changed their lifestyles etc. There is no visible discussion surrounding how the reggae revival has carried out some of its objectives and the changes that can be speculated as causing a kind of ripple effect in the sound system culture, performance standard and creative industries. With that being said, research for this paper largely depended on methods of primary research such as conducting interviews and being a witness/patron of events like Dub School, Dub Club, Dubwise, Vinyl Thursdays, Ancient Future Live, Live From The Capital and so on. The focus of this research will explore the roles that this movement has played in the source of demand for live band and artist performances, the deliberate collaboration between artists and creative bodies resulting in sub-sectors in the cultural/creative industry and the resurgence of prominence and changes of the sound system culture.

The Art of Remixing in Abidjan (Ivory Coast)

HAL (Le Centre pour la Communication Scientifique Directe), 2022

In the cosmopolitan city of Abidjan, various music traditions from Western Africa and beyond meet and hybridize with globalized black music genres such as reggae and hip hop. Based on ethnographic data collected in local recording studios, we describe the career of five studio professionals, namely Tupaï, Patché, Gabe Gooding, Charlie Kamikaze, and Lyle Nak; and we report on the workflow and digital signal processing events of three recording sessions. Our analyses reveal that the creative processes of Ivorian studio professionals are centered on remaking or remixing instrumentals that they retrieve from the web or from their past productions. We conclude with our plans for future collaborations with these practitioners and the female network Les Femmes Sont…founded by Lyle Nak.