Coproduction: Collaboration in Music Production

Cover
Half Title
Series Information
Title Page
Copyright Page
Dedication
Table of Contents
Figures
Tables
Examples
Contributors
Preface
Acknowledgements
Credits
How to Read This Book: Design and Structure
1 A Typology of Collaborative Practices in Music Production
	Intro: The Dominance of the One
	Type Overview
	1. Group Coproduction
		1.1 Integrative Coproduction
		1.2 Familial Coproduction
		1.3 Complementary Coproduction
		1.4 Distributed Coproduction
	2. Internal Coproduction
		2.1 Present–Past Internal Coproduction
		2.2 Present–Future Internal Coproduction
	3. Coproduction Without Consent
		3.1 The Song of a Thousand Songs (Toast Theory)
		3.2 Denial Or Unknowing Coproduction
	4. Deproduction
	Outro: The Rising of the Many
Part One Type 1. Group Coproduction: Collaboration Between Individuals
	2 Producing Together
		Introduction
		Patterns of Collaboration
		Integrative Coproduction
		Familial Coproduction
		Complementary Coproduction
		Distributive Coproduction
		Collaboration in General
	3 Creativity and the Production Habitus
		Overview
		Bourdieu and Habitus
		The Production Habitus
		Considering Conditions for Creative Contributions
		Authoring a Process
		Consolidation Points Framework (CPF)
	4 The Production Habitus of Smoke Rainbows – Music Minds Matter (Abbey Road Case Study No.1)
		Creating the Production Habitus: Project Initiation
		Developing the Production Habitus: Pre-Production
		Creating the Production Habitus: First Contact
		Preserving Production Habitus in Pre-Production
		Production Habitus in the Studio Sessions
		Production Habitus in Mixing
		Production Habitus in the Product Preparation
	5 Lauren Christy and The Matrix Production Team: Coproduction in Familial Mode (The Three-Headed Monster and the Butterfly Collector)
	6 Hierarchical Production and Complementarity, Before, During, and After PWL: An Interview With Phil Harding
		Introduction
		‘Telepathy’
		Team Leaders
		Speed of Projects
		The ‘No Man’s Land’ of the Middle Eight
		Collaborative Models
		The Persona and the Pop Machine
		Upstairs Downstairs at PWL
		Integrated Model: PWL as ‘The Band’
		Equal Co-Credits
		Credits and Acknowledgement
		What Does a Producer Do?
		Working With a Band
		Killing Joke: A Distributed Model of Collaboration
		Lamont Dozier and Cliff Richard
		Connection to Motown and Other Hit Factories
		Solo Album Material
	7 Group Genius, Scenius, the Invisible, and the Oblique: Eno, Lanois, and Communities of Creativity
		Introduction
		Working With Eno
	8 Grace Jones, Spontaneity, and Collaboration in the Moment: An Interview With Bruce Woolley
	9 Small Things of Value: Marginalia, Mental Health, and Coproduction (Abbey Road Case Study No.2, Part 1)
	10 Something of Value: Coproducing With Converge, a University-Based Educational Programme for Adults With Mental Health  ...
		Coproduction in Mental Health Research
			How Is Coproduction Defined?
			Key Principles and Features of Coproduced Research
		The Creation of ‘Nothing of Value’
			Why Would You Want to Coproduce This Song?
			What Would It Look Like to Coproduce a Song in the Mental Health Sense?
			The Coproduction of ‘Nothing of Value’
			On the Day …
			The Experience of Going to London
		Reflections On Coproduction in This Project
		Conclusion
Part Two Type 2. Internal Coproduction: The Self as Many
	11 The Artistic Self and the Cycle of Production
		On Persona
		The Stages of Production
		The Production Cycle of a Producer–Artist
		The Artistic Self and the Curation of Avatars
	12 ‘Silver Glass’: Re-Production
		Artistic Self in the Cycle of Production
		Creating the ‘Silver Glass’ Production Habitus
		Backstage and Authenticity
		Structures of Internal Collaboration
		Conclusions From ‘Silver Glass’ Re-Production
	13 Play One We Know!: A Pub Singer’s Struggle to Retain His Integrity Whilst Remaining Entertaining
		Introduction
		Covering Our Tracks
		The Audience: Who Are They?
		Typology of Observer
		How Does the Pub Singer Assess the Competence of the Audience?
		Catering to the Audience
		How Is the Audience Measuring the Performer’s Authenticity?
			Mapping the Pub Singer’s Situation Against Allan Moore’s Tripartite Theory of Authenticity (2002)
				1. First Person Authenticity
			The Importance of the Spoken Introduction in Musical Performance
				2. Second Person Authenticity
			Discussion With Performers
			Do I Feel Authentic?
				3. Third Person Authenticity
			Typology of Me
		Interview With an Audience
		Conclusions
Part Three Type 3. Coproduction Without Consent: Denial Or Unknowing Collaboration
	14 The Song of a Thousand Songs: Popular Music as Distributed Collaboration (Toast Theory, Part 1)
		The Song of a Thousand Songs
		‘Toast’
		Das Leibe Farbe
	15 Removing Non-Sonic Signifiers From Endings (Toast Theory, Part 2)
		Case Study 1
		Case Study 2
		Territory (Mode 3)
		The Collaborators
		Long Live Rock N Arctic Roll
		The And
		The End?
	16 The Ancient Art of Remixing
		Background
		Introduction
		Defining Remix and Sampling
		Sampling and Remixing in the Modern Era
		‘Super’ Compositions
		Mash-up
		Medley
		Cantus Firmus
		Chord Progressions
		Cover Version
		Pastiche
		Quotation
		Chronology
		Renaissance
Part Four Type 4. Deproduction: The Collective Disappearance of Production
	17 On Writing Every Song
	18 The Mathematics of Writing Every Tune
		Method for Calculations
		Partitions and Permutations
		Rests
		Where Is Beethoven’s 5th?
		Performance Order
		Examples
		Coda
	19 Deproduction
References
Index