Uploaded July 2019 | Updated September 2026, 4 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
The role of locality, status and intimacy in knowledge transmission within Soundcloud’s post-Hip Hop underground
Daniel Gouly
/// ABSTRACT
My research studies how specific musical and social technologies, such as Digital Audio Workstations, Soundcloud, and YouTube, shape the ways in which electronic music producers interact, share knowledge, develop social networks, and, crucially, develop the skills required to create specific idiomatic sounds. Having spent the research phase of my PhD creating scene-specific sample packs and conducting a range of semi-structured interviews and studio sessions, I draw on this composite methodology to explore an emerging area of my research. In this paper I investigate the varied ways producers learn the idiom in which they practice, and the way this is interconnected with both the acquisition of technical knowledge and the development of relationships with a variety of actors. In particular I will explore the ways that social intimacy and status shape the sharing of culturally important sounds and technical or compositional processes. In doing so I hope to uncover the extent to which these processes are localised and the ways in which producers conceptualise certain idiomatic sounds as possessing particular import. I hope to interrogate why these particular sounds possess such value to specific producers, and how a range of factors including perceived status, personal expression, and intimacy, shape how and when producers transmit or re-circulate the idiomatic knowledge required to reproduce them. This paper will therefore look to draw out complex and evolving in-group thinking about technology, status, locality, aesthetics, and intimacy.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
The role of locality, status and intimacy in knowledge transmission within Soundcloud’s post-Hip Hop underground
Daniel Gouly
/// ABSTRACT
My research studies how specific musical and social technologies, such as Digital Audio Workstations, Soundcloud, and YouTube, shape the ways in which electronic music producers interact, share knowledge, develop social networks, and, crucially, develop the skills required to create specific idiomatic sounds. Having spent the research phase of my PhD creating scene-specific sample packs and conducting a range of semi-structured interviews and studio sessions, I draw on this composite methodology to explore an emerging area of my research. In this paper I investigate the varied ways producers learn the idiom in which they practice, and the way this is interconnected with both the acquisition of technical knowledge and the development of relationships with a variety of actors. In particular I will explore the ways that social intimacy and status shape the sharing of culturally important sounds and technical or compositional processes. In doing so I hope to uncover the extent to which these processes are localised and the ways in which producers conceptualise certain idiomatic sounds as possessing particular import. I hope to interrogate why these particular sounds possess such value to specific producers, and how a range of factors including perceived status, personal expression, and intimacy, shape how and when producers transmit or re-circulate the idiomatic knowledge required to reproduce them. This paper will therefore look to draw out complex and evolving in-group thinking about technology, status, locality, aesthetics, and intimacy.
