9772863 Brad Hosking Thesis

For the benefit of the song: Exploring the role of preproduction in recorded popular music Brad Hosking BPopMus (Griffith University Queensland Conservatorium) Creative Industries Faculty Queensland University of Technology Submitted in fulfillment of the requirements of the degree of Master of Philosophy 2019 1 Statement of Original Authorship This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Signed: QUT Verified Signature Date: 17 / 10 / 2019 2 Abstract The purpose of this study is to investigate preproduction processes and the perceived value of a formalised preproduction process to its participants. In order to do this, an interdisciplinary investigation of preproduction in other creative industries is undertaken, developing a preproduction process that is more formalised than that usually associated with music production, although one that is more common in disciplines such as film and television, animation, microdocumentary and short film production. With limited scholarly attention focused on specific, repeatable preproduction frameworks for popular music production, this research provides an opportunity to develop a process for collaborative songwriting and music production for singer-songwriter solo artists that may be broadly applicable the field. Through practice-led research methods along with interview and questionnaire data, participants identified a number of common preproduction factors that could be categorised in three main areas: musical and song development; environmental elements; and the producer-artist relationship, with the most compelling data highlighting the importance and benefit of having the story idea as a considered and formalised step in the preproduction process, emphasizing story telling aspects of the lyric and emotion of the song. All participants affirmed the importance of preproduction during the course of the research, regardless of whether it followed a formalised process specific for music or not. For participants, the formalised music preproduction framework presented a more complete process, with perceived benefits for the songs and participants in areas such as improved musical outcomes and workflow efficiency. Overall, these broad results contribute to our understanding of preproduction in commercial popular music, and illustrate some possible avenues for further development in record production and creative practice. 3 Table of contents STATEMENT OF ORIGINALITY ........................................................................................................................ 2 ABSTRACT ..................................................................................................................................................... 3 TABLE OF CONTENTS ..................................................................................................................................... 4 LIST OF FIGURES ............................................................................................................................................ 6 ACKNOWLEDGEMENTS .................................................................................................................................. 7 CHAPTER ONE – INTRODUCTION ................................................................................................................... 8 WHAT IS PREPRODUCTION? ..................................................................................................................................... 9 CHAPTER TWO – LITERATURE REVIEW ......................................................................................................... 11 THE RECORD MAKING PROCESS .............................................................................................................................. 11 THE RECORD PRODUCER AND ARTIST COLLABORATIVE RELATIONSHIP ............................................................................... 15 PREPRODUCTION IN OTHER CREATIVE ARTS ............................................................................................................... 19 CHAPTER THREE – METHODOLOGY .............................................................................................................. 28 DEVELOPING A FORMALISED PREPRODUCTION MODEL ................................................................................................ 28 ACTION RESEARCH PROJECTS .................................................................................................................................. 32 CREATIVE PRACTICE .............................................................................................................................................. 35 Part I ........................................................................................................................................................... 36 Part II .......................................................................................................................................................... 37 PARTICIPANTS ...................................................................................................................................................... 39 SEMI-STRUCTURED INTERVIEWS AND QUESTIONNAIRE ................................................................................................. 42 CONCLUSION ....................................................................................................................................................... 43 CHAPTER FOUR – DATA ANALYSIS ............................................................................................................... 44 PREPRODUCTION SESSIONS: ................................................................................................................................... 44 SESSIONS WITH KH ............................................................................................................................................... 44 Track 1 – Part I – Centerpiece ..................................................................................................................... 44 Track 2 –Part II - Run Boy ............................................................................................................................ 46 SESSIONS WITH RS ................................................................................................................................................ 49 Track 1 – Part I - Crowd Pleaser .................................................................................................................. 49 Track 2 – Part II - Paper Weight .................................................................................................................. 51 SESSIONS WITH DC ............................................................................................................................................... 54 Track 1 – Part I - Into Tomorrow ................................................................................................................. 54 Track 2 – Part II - Answer Me ...................................................................................................................... 55 SESSIONS WITH AP ............................................................................................................................................... 57 Track 1 – Part I - Paradise is Free ................................................................................................................ 57 Track 2 – Part II – Anywhere ....................................................................................................................... 59 SESSIONS WITH MS AND BC ................................................................................................................................... 61 Track 1 – Part I - Shut Down ....................................................................................................................... 61 Track 2 – Part II - Said That ......................................................................................................................... 62 SESSIONS WITH AT AND DL .................................................................................................................................... 63 Track 1 – Part I – Amigos ............................................................................................................................ 63 Track 2 – Part II – Freedom ......................................................................................................................... 64 PART II – FORMALISED PROCESS OUTCOMES ............................................................................................................. 66 COMMON FACTORS FROM PART I ............................................................................................................................ 72 COMMON FACTORS FROM PART II ........................................................................................................................... 75 CHAPTER 5 – CONCLUSION .......................................................................................................................... 79 REFERENCES ...............................................................................................................................................

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