Year: 2017
Type: dissertation
Abstract: This practical portfolio PhD presents a collection of my pop music compositions and \nproductions, with an accompanying exegesis that examines my process whilst creating \nthese tracks. The exegesis analyses the methods and techniques I use, with the aim of \nachieving a better understanding of my productions. This will in turn reveal my idiolect, \nwhich is the distinctive way an individual creates that produces their particular style \n(Middleton, 1990: 136, 174; Moore, 2012: 120, 166-7). This research also includes \nanalyses of interesting, innovative and important moments or processes that draw on \nperspectives taken from theories of creativity, technology as well as the social aspects of \ncreation and innovation. These theories are the systems approach to creativity \n(Csikszentmihalyi, 1997, 1999), and the Social Construction of Technology [SCOT] \n(Bijker, Hughes & Pinch, 1987, 2012). The focus of this thesis will be on understanding \nthe detail of my creative practice. \nThis exegesis consists of critical commentaries of four of the fifteen portfolio \ntracks, each in its own chapter. It is the intention that concentrating on just four tracks \nwill enable a better understanding of the processes in question. Other portfolio tracks \nserve as further examples of the points made, or demonstrate alternatives where \nrelevant. An autoethnographical approach is used as a methodology for the commentary \nchapters. This is in order to achieve a comprehension of my personal experience \n(Bochner and Ellis in Denzin, 2000: 736-9; Muncey, 2010: 26-33). The reader could \nthen potentially ‘resonate with’ this experience and ‘reflect on it’ (Bochner and Ellis in \nDenzin, 2000: 753). \nChapter 1 outlines the various roles I play when creating a pop music track, \nwhich include composer, producer, engineer, performer and collaborator. This chapter \nadditionally explores my position as listener as well as the significance of the opinions \nof the audience. Chapter 2 focuses on composition and melody, including a discussion \nof intuition and invention. The vocal production techniques used in the creation of the \nfeatured track are explored as well as my approach to mixing. Chapter 3 centers on how \nmy drum performances and the lead vocal parts were created, and edited for the \nportfolio track in question. It also outlines several models of collaboration that refer to \nthe creation of this track. Chapter 4 discusses the frame of mind one draws upon whilst \n6 \ncreating pop music. It examines how I chose equipment for the production, the \nproduction techniques used, and the creation of timbre and texture. Chapter 5 examines \nthe application of reverbs and effects, and also explores my approaches and attitudes, \nsome philosophical, towards the perspective of the listener. The composition \ncollaboration situation differs in each commentary chapter, including: sole composition \nfor Chapter 2; equally shared composition between two collaborators in Chapter 3; three \ncollaborators in Chapter 4, of which I have least compositional input; and two way \ncollaboration in Chapter 5, where I have no compositional input. \nAs a result of this study, a better understanding of my creative practice has been \nachieved, which includes further comprehension of my idiolect. This research has not \nonly informed my recent composing and producing, but it is also likely that it will \ninfluence my future productions. Furthermore, it is hoped that the insights presented in \nthis thesis could potentially serve as useful knowledge for others, with the prospect that \nthey can approach their own productions with this knowledge in mind.
Author: Steven Andrew Williams
Language: English
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: green
OpenAlex ID: W2606582518