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Understanding Artist Development: How Do Producers Support the Development of Artists Through the Production Process?

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Understanding Artist Development: How Do Producers Support the Development of Artists Through the Production Process? Understanding Artist Development: How Do Producers Support the Development of Artists through the Production Process? Jacob Laube BMus, Grad Dip Ed Creative Industries Faculty Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Master of Fine Arts (Research) 2017 Abstract This study seeks to identify how an artist develops through the production process using practice-led and ethnographic methods. I chose to explore artist development as it combines elements of both music and education, my two areas of study and professional experience. Furthermore, there is limited academic literature on artist development and the various aspects that contribute to it through the production process. As such, my research in the history and practice of artist development provides a broad platform for further study in this area. I based this study upon my creation of two separate EP recordings featuring two different artists who vary in age, ensemble size, and levels of recording experience. By situating myself in the project as a record producer, I was able to identify key elements in the emergent themes that relate to artists’ development through the production process. The results of a thematic analysis suggested four key themes: expectation, collaboration, relationship, and experience. The skills, knowledge, and experimentation that were apparent in the studio were categorised according to these themes, which detail how each artist developed through the production process. These results were contrasted with the artists’ experience of the production process, outlining broad notions of development through skills, knowledge, collaboration, and experimentation in the studio. These broad conclusions provide a basis for further study, possibly involving an increased sample size and use of semi-structured interviews alongside questionnaires in order to capture more comprehensive data on artist development. ii Table of Contents Abstract ............................................................................................................................... ii Table of Contents ............................................................................................................... iii Statement of Originality..................................................................................................... vi Acknowledgements ............................................................................................................ vii Introduction......................................................................................................................... 1 Literature and Contextual Review ..................................................................................... 5 History and Context .................................................................................................................... 5 The Pioneer of A&R and Production ......................................................................................... 5 The Fifth Beatle: Production Techniques and Successful Development in the Studio ................. 8 The Face of A&R and Production Styles through the 60s, 70s, and 80s .................................... 10 A&R in the Current Industry Climate ...................................................................................... 13 Producers: Developing Artists through the Production Process .............................................. 16 Producer Styles, Roles, and Types ........................................................................................... 16 Producer and Artist Relationships: Forming Trust within the Studio ........................................ 22 Developing Young Artists in the Studio .................................................................................. 26 Methodology ...................................................................................................................... 31 Methodology ........................................................................................................................... 32 The Caitlyn Wessels EP .......................................................................................................... 35 The Street Pieces EP ............................................................................................................... 37 Synthesising the Two EPs ....................................................................................................... 38 The Project Structure............................................................................................................... 38 Different Groups: The Two Creative Projects .......................................................................... 39 Variables................................................................................................................................. 40 iii Conditions .............................................................................................................................. 41 Limitations .............................................................................................................................. 42 Conclusion .............................................................................................................................. 42 Data Analysis ..................................................................................................................... 44 Expectation ................................................................................................................................ 45 ‘Seasoned’ Musicians v. ‘Casual’ Musicians ........................................................................... 46 Caitlyn Wessels EP and Time Management—Touching upon ‘Studio Time’ ........................... 48 Street Pieces: Expectations of ‘Seasoned’ Musicians ............................................................... 51 Relationship ............................................................................................................................... 53 The Caitlyn Wessels EP .......................................................................................................... 54 Overcoming Struggles: Relationship as Support ...................................................................... 56 Songwriting: Forming Stronger Relationships in the Studio ..................................................... 57 Street Pieces: Relationship Ties Us Together ........................................................................... 58 Relationship: A Key Factor in Artist Development .................................................................. 59 Communication ......................................................................................................................... 63 Communication in the Caitlyn Wessels EP .............................................................................. 63 Producer and Artist Communication: The Caitlyn Wessels EP ................................................. 66 Street Pieces: Honesty and Openness within the Studio ........................................................... 70 Difficulties Despite Openness ................................................................................................. 71 Experience ................................................................................................................................. 73 Caitlyn Wessels’ Development as an Artist ............................................................................. 74 Three Key Areas in the Development of Caitlyn Wessels ........................................................ 74 The Learning Curve: Seasoned Musicians Learn Faster than Casual Musicians ....................... 77 Experience the Energy of a Live Performance in a Studio Setting ............................................ 82 Conclusion ......................................................................................................................... 88 Appendices ........................................................................................................................ 91 iv Caitlyn Wessels Questionnaire.................................................................................................. 91 Before the Process................................................................................................................... 91 During the Process .................................................................................................................. 98 After the Process ................................................................................................................... 104 Street Pieces Questionnaire ..................................................................................................... 118 Before the Process................................................................................................................. 118 During the Process ................................................................................................................ 123 After the Process ................................................................................................................... 126 Caitlyn Wessels Interview Questions ...................................................................................... 135 General Questions ................................................................................................................. 135 ‘Walk Away’ .......................................................................................................................
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