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Creativity and Collaboration in the Recording Studio: an Empirical Study

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Creativity and Collaboration in the Recording Studio: an Empirical Study Creativity and Collaboration in the Recording Studio: An Empirical Study Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by: Paul Thompson October 2015. CREATIVITY AND COLLABORATION IN THE RECORDING STUDIO Abstract There is increasing evidence that creativity is the result of a dynamic system of interaction where the individual is only one part. Csikszentmihalyi describes a ‘creative system’ that includes three main elements: the domain, the field and the individual (Csikszentmihalyi: 1988, 1997, 1999 & 2004). During creative work, the individual must draw from the domain in order to select a suitable arrangement of ingredients from this body of knowledge and symbol system. This selection of ingredients is then presented to the field, the social organization that recognises, uses and alters the domain, to decide upon its creativity and inclusion into the domain (Csikszentmihalyi, 1997). In the context of rock music this occurs when the completed record is released to the public and the field of rock record production (TV, radio, popular music press, other musicians, engineers and producers etc.) decides upon the record’s novelty and its relevant addition to the domain through an often complex and iterative process. However, little has been written from a creative system’s perspective about what happens inside the recording studio before the record is released. Consequently, the interaction of the creative system’s main elements during smaller acts of creativity, such as the individual generation of ideas, and the collaborative exchanges that take place during group creativity, have been relatively underexplored. This thesis explores the creative process of making a rock recording inside the recording studio using the framework of the creative system. Ethnographic methods such as participant-observation, video and sound recording were used to observe the interaction between the performing musicians, the engineer and the record producer as they collaborated during the recording process. This helped to reveal the complex interaction between the participants and the creative system’s main elements during the creative tasks of performing, engineering and producing. Importantly, it helped to show for the first time that this interaction occurred on both an individual level and a group level, and highlighted how a creative-systems approach can be used to gain a more detailed and in-depth understanding of musical creativity more generally. 2 INTRODUCTION Declaration of Authorship I, Paul Thompson declare that this thesis and the work presented in it is my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while in candidature for a research degree at the University of Liverpool; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. Parts of this work have been published as: Thompson, P., & Lashua, B. (2014). ‘Getting It on Record: Issues and Strategies for Ethnographic Practice in Recording Studios'. Journal of Contemporaty Ethnography, Vol. 43(3). pp. 746-769. Thompson, P., & McIntyre, P. (2013). Rethinking Creativity in Record Production Education: Addressing the field. Journal on the Art of Record Production, Dec, 2013. Available from: http://arpjournal.com/2603/rethinking-creative-practice-inrecord-production and- studio-recording-education-addressing-the-field/ [Last accessed February 2015] 3 CREATIVITY AND COLLABORATION IN THE RECORDING STUDIO Acknowledgements The premise of this study is that creativity is the result of collaboration and this has certainly been the case in the creation of this thesis with the assistance and guidance of numerous people. First and foremost the completion of this thesis would have been inconceivable without the dedicated help and guidance of Phillip McIntyre. I owe a debt of gratitude for your continued support, encouragement, expertise, advice and generosity throughout the entire process and it’s an honour to be counted as your friend. Secondly, this study would have also been impossible without the passionate engagement of all of the participants and I would like to thank all of those who took part and offered their time, insight and expertise so freely throughout. Marc, Paul, Chris, Mike, Rory, Nick, Jess, Phil and Darren I thank you. Huge thanks too to my supervisor Sara Cohen for her unrelenting critique and feedback that has contributed so much to the cohesion of this thesis and thank you too to Rob Strachan. I would also like to thank my fellow colleague and friend Brett Lashua whose critical eye and understanding of the finer points of ethnography were pivotal in bringing the methodology chapter to life. I have had also had the pleasure of being a member of the Association for the Art of Record Production and I would like to thank all members, past and present, for their lively debate during conferences, their camaraderie and friendship. It is here that I’ve found my academic home and an outlet for my research. Thank you too to all of the musicians I have worked with over the years who have helped me to celebrate the joy of making music and making records. Finally, and most importantly, I would like to thank my family who have nurtured and supported my interest in music my entire life and who continue to inspire and encourage me. One of my earliest memories is listening to Elvis Presley on my Grandad’s record player and it is here that my fascination for records began. Without you all, and your encouragement, none of this would have been possible so Mum, Dad, Claire, Martin, Camilla, Milo, Paul, Hannah and John I thank you. 4 INTRODUCTION Dedication This thesis is dedicated to the eternal memory of family members who have passed…you are gone but not forgotten: Papa, Grandad, Nana, Grandma and Marion 5 CREATIVITY AND COLLABORATION IN THE RECORDING STUDIO Table of Contents ABSTRACT .................................................................................................................................................... 2 DECLARATION OF AUTHORSHIP .................................................................................................................... 3 ACKNOWLEDGEMENTS .................................................................................................................................. 4 DEDICATION ................................................................................................................................................. 5 TABLE OF CONTENTS .................................................................................................................................... 6 LIST OF FIGURES ........................................................................................................................................... 8 INTRODUCTION .............................................................................................................................................. 9 RESEARCH INTO CREATIVITY ................................................................................................................ 16 INTRODUCTION .................................................................................................................................................... 16 1.1 THE CREATIVE PERSONALITY ......................................................................................................................... 19 1.2 CREATIVITY AND COGNITIVE PSYCHOLOGY.................................................................................................... 21 1.3 CREATIVITY AND CULTURAL PRODUCTION ..................................................................................................... 24 1.4 CREATIVITY AS A SYSTEM IN ACTION ............................................................................................................. 29 1.6 CREATIVITY AND THE GROUP ......................................................................................................................... 35 1.7 STUDIES OF GROUP CREATIVITY..................................................................................................................... 36 1.8 GROUP CREATIVITY AS A SYSTEM .................................................................................................................. 39 CONCLUSION ....................................................................................................................................................... 44 STUDIES INSIDE THE RECORDING STUDIO ......................................................................................... 46 INTRODUCTION .................................................................................................................................................... 46 2.1 THE SOUND ENGINEER IN THE RECORDING STUDIO ........................................................................................ 48 2.2 THE RECORD PRODUCER
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